Literature Studies and Reading Overall Expectation: LSV.01 Understanding the Meaning of Texts

Transcription

1 Literature Studies and Reading Overall Expectation: LSV.01 Understanding the Meaning of Texts read and demonstrate an understanding of texts from various periods, with an emphasis on analysing and assessing information, ideas, themes, issues, and language; read and demonstrate an understanding of a variety of informational and literary texts from Canada and other countries, with an emphasis on analysing information, ideas, and issues; LS1.01 analyse and interpret information, ideas, themes, and arguments in print and electronic texts (e.g., write a paper analysing a theme in a novel; explain explicit and implicit claims made in a persuasive essay); interpret and assess explicit and implicit ideas, issues, and information in informational and literary texts (e.g., summarize and assess the ideas in a magazine article; explain the major themes underlying the plot and characterization in a novel); Walk to the Jetty, p. 99, #3; To Da-Duh, p. 121, #2; Initiation, p. 208, #1, 2; Falling Song, p. 242, #2; My Song, p. 242, #1; Poetry, p. 250, #2; Job of Apple, p. 274, #1; Hidden Fence, p. 302, #1; Wrong Ism, p. 347, #1; Where Do You Get Your Ideas From?, p. 357, #2; On Veterans, p. 380, #1; William Golding, p. 391, #2; Garbage 101, p. 399, #1; Sense and Sensibility, p. 483, #1; Trifles, p. 500, #1; Survival in South, p. 522, #1; My Song, p. 242, #1; Poetry, p. 250, #2; Job of Apple, p. 274, #1; Hidden Fence, p. 302, #1; Wrong Ism, p. 347, #1; Where Do You Get Your Ideas From?, p. 357, #2; On Veterans, p. 380, #1; William Golding, p. 391, #2; Garbage 101, p. 399, #1; Sense and Sensibility, p. 483, #1; Trifles, p. 500, #1; Survival in South, p. 522, #1; Learning the Language, #2; Boys and Girls, #1; Love Must Not Be Forgotten, #2; Elegy on Mad Dog, #1; Holy Sonnet 10, #5; In Progress, #2; Profile of Africa, #2; Beautiful Summer, #1; Out, Out, #1; Job of Apple, #1; Neighbour, #2; Canadian Pioneers, # 2; Reaction- Interaction, #1, 2; Shakespearean Baseball Game, #1; Branta Canadensis, #2; Trifles, #4; Learning the Language, #2; Boys and Girls, #1; Love Must Not Be Forgotten, #2; Elegy on Mad Dog, #1; Holy Sonnet 10, #5; In Progress, #2; Profile of Africa, #2; Beautiful Summer, #1; Out, Out, #1; Job of Apple, #1; Neighbour, #2; Canadian Pioneers, #2; Reaction- Interaction, #1, 2; Shakespearean Baseball Game, #1; Branta Canadensis, #2; Trifles, #4; pp

2 LS1.02 select and use specific and relevant evidence from a close reading of texts to support interpretations, analyses, and arguments (e.g., analyse and describe the organization of an argument in a literary essay; identify the target and explain the criticism in a work of satire); select specific and relevant evidence from texts and use it to support interpretations and arguments (e.g., refer to specific actions and choices to explain a character s motives in a novel or play; use relevant facts from research in an oral report exploring both sides of a social issue); Ramu and Rani, p. 85, #1; Charmer, p. 109, #1; Handful of Dates, p. 129, #3; Television Drama, p. 152, #2; Storyteller, p. 165, #1; Holy Sonnet 10, p. 226, #1; Out, Out, p. 274, #1; Mother, p. 294, #1; Neighbour, p. 301, #1, 2; Where the World Began, p. 333, #1; Engineered Food, p. 408, #1; Survival in South, p. 522, #2; Drama Wrap-Up, p. 523, #4; Ramu and Rani, p. 85, #1; Charmer, p. 109, #1; Handful of Dates, p. 129, #3; Television Drama, p. 152, #2; Storyteller, p. 165, #1; Holy Sonnet 10, p. 226, #1; Out, Out, p. 274, #1; Mother, p. 294, #1; Neighbour, p. 301, #1, 2; Where the World Began, p. 333, #1; Engineered Food, Learning the Language, #4; Brother Dear, #2; Address, #4; Ramu and Rani, #4; Charmer, #3; To Da- Duh, #5; Handful of Dates, #2, 4; Love Must Not Be Forgotten, #3; Initiation, #2; Initiation, #4; SOS, #4; The Tables Turned, #2; My Song, #2; Flower of Waves, #2; History Lesson, #3; Profile of Africa, #3; Beautiful Summer, #4; Job of Apple, #3; Mother, #1; Sonnet, #2; My Old Newcastle, #4; Reaction-Interaction, #5; Where the World Began, #4; Where Do You Get Your Ideas From?, #4; Marilyn Bell, #3; Off to War, #1; Animation 101, #2; William Golding, #4; Garbage 101, #3; How to Turn, #1; Fear of Science, #3; Henry V, #2; Branta Canadensis, #4; Sense and Sensibility, #4; Ignoble Knight, #3; Learning the Language, #4; Brother Dear, #2; Address, #4; Ramu and Rani, #4; Charmer, #3; To Da- Duh, #5; Handful of Dates, #2, 4; Love Must Not Be Forgotten, #3; Initiation, #2; Initiation, #4; SOS, #4; The Tables Turned, #2; My Song, pp ; 65-68

3 p. 408, #1; Survival in South, p. 522, #2; Drama Wrap-Up, p. 523, #4; #2; Flower of Waves, #2; History Lesson, #3; Profile of Africa, #3; Beautiful Summer, #4; Job of Apple, #3; Mother, #1; Sonnet, #2; My Old Newcastle, #4; Reaction-Interaction, #5; Where the World Began, #4; Where Do You Get Your Ideas From?, #4; Marilyn Bell, #3; Off to War, #1; Animation 101, #2; William Golding, #4; Garbage 101, #3; How to Turn, #1; Fear of Science, #3; Henry V, #2; Branta Canadensis, #4; Sense and Sensibility, #4; Ignoble Knight, #3; LS1.03 select and use a range of effective reading strategies (e.g., make, adjust, and defend predictions while reading a novel; adjust reading pace as the complexity of a text changes; reread a text closely to relate repeated images to a theme); Short Fiction Wrap- Up, p. 209, #2; Poetry Wrap-Up, p. 303, #1; My Old Newcastle, p. 308, #1; Marilyn Bell, p. 365, #1; Animation 101, p. 384, #1; Life of Sports Writer, p. 441, #2; Henry V, p. 448, #1; Branta Canadensis, p. 471, #2; Shivering Tree, #1, 2; Address, #1; Lamp at Noon, #1; Television Drama, #1; Sunday in the Park, #2; Do Seek Their Meat from God, #1; SOS, #1; Sometimes My Body Leaves Me, #1; Ode to Autumn, #1; Poetry, #1; Flower of Waves, #1; Ode to My Socks, #2; In the Morning, #1; Horse Fly Blue, #1; Schooner, #2; My Old Newcastle, #1; Canadian Pioneers, #1; Cartography of Myself, #1; Open Car, #2; Wrong Ism, #1; Where Do You Get Your Ideas From?, #2; Marilyn Bell, #1; HMS Repulse, #1, 2; On Veterans, #1, 2; William Golding, #1; pp

4 select and use a range of effective reading strategies (e.g., recall knowledge about a topic or theme from personal and other reading experiences to prepare for reading; adjust reading pace as the complexity of a text changes; reread challenging passages closely); Garbage 101, #2; How to Turn, #2; Fear of Science, #2; Engineered Food, #2; Talking Mace, #2, 3; On Boy Trouble, #2; Paws for Concern, #1; Sustainable Development, #2; e- phobia?, #1; Life of Sports Writer, #1; Henry V, #1; Branta Canadensis, #1; Branta Canadensis, #5; Sense and Sensibility, #2; Trifles, #1, 2; Ignoble Knight, #1; Survival in South, #1; Short Fiction Wrap- Up, p. 209, #2; Poetry Wrap-Up, p. 303, #1; My Old Newcastle, p. 308, #1; Marilyn Bell, p. 365, #1; Animation 101, p. 384, #1; Life of Sports Writer, p. 441, #2; Henry V, p. 448, #1; Branta Canadensis, p. 471, #2; Shivering Tree, #1, 2; Address, #1; Lamp at Noon, #1; Television Drama, #1; Sunday in the Park, #2; Do Seek Their Meat from God, #1; SOS, #1; Sometimes My Body Leaves Me, #1; Ode to Autumn, #1; Poetry, #1; Flower of Waves, #1; Ode to My Socks, #2; In the Morning, #1; Horse Fly Blue, #1; Schooner, #2; My Old Newcastle, #1; Canadian Pioneers, #1; Cartography of Myself, #1; Open Car, #2; Wrong Ism, #1; Where Do You Get Your Ideas From?, #2; Marilyn Bell, #1; HMS Repulse, #1, 2; On Veterans, #1, 2; William Golding, #1; Garbage 101, #2; How to Turn, #2; Fear of Science, #2; Engineered Food, #2;

5 LS1.04 compare their own ideas, values, and perspectives with those expressed or implied in a text (e.g., analyse the thinking and response of a fictional character in a crisis and compare them with their own probable reactions; debate two different interpretations of a literary work using specific references to the text to support their arguments); compare their own ideas, values, and perspectives with those expressed or implied in a text (e.g., analyse the response of a fictional character in a crisis and compare it with their own probable reaction); Talking Mace, #2, 3; On Boy Trouble, #2; Paws for Concern, #1; Sustainable Development, #2; e- phobia?, #1; Life of Sports Writer, #1; Henry V, #1; Branta Canadensis, #1; Branta Canadensis, #5; Sense and Sensibility, #2; Trifles, #1, 2; Ignoble Knight, #1; Survival in South, #1; Brother Dear, p. 34, #2; Address, p. 41, #1; Boys and Girls, p. 59, #1; Lamp at Noon, p. 73, #1; A Cap for Steve, p. 178, #1; The Tables Turned, p. 234, #1; Poetry, p. 250, #1; Canadian Pioneers, p. 313, #1; Cartography of Myself, p. 323, #1, 2; Where the World Began, p. 333, #2, 3; Victory!, p. 367, #1; Animation 101, p. 384, #3; Ignoble Knight, p. 512, #1; Brother Dear, p. 34, #2; Address, p. 41, #1; Boys and Girls, p. 59, #1; Lamp at Noon, p. 73, #1; A Cap for Steve, p. 178, #1; The Tables Turned, p. 234, #1; Poetry, p. 250, #1; Canadian Pioneers, p. 313, #1; Cartography of Myself, p. 323, #1, 2; Fire Down on the Labrador, #1; Ramu and Rani, #2; Walk to the Jetty, #1; Charmer, #2; Television Drama, #2; The Pedestrian, #2; Storyteller, #1; Cap for Steve, #6; Initiation, #1; The Tables Turned, #1; The Lake Isle of Innisfree, #1; Falling Song, #1; My Song, #1; You Walked Gently, #1; Up, #1; Ode to My Socks, #3; Horse Fly Blue, #2; Out, Out, #5; Bear on Delhi Road, #1; Surf s Up, #1; Sense and Sensibility, #5; Survival in South, #2; Fire Down on the Labrador, #1; Ramu and Rani, #2; Walk to the Jetty, #1; Charmer, #2; Television Drama, #2; The Pedestrian, #2; Storyteller, #1; Cap for Steve, #6; Initiation, #1; The Tables Turned, #1; The Lake Isle of Innisfree, #1; Falling pp.51-55,

6 Where the World Began, p. 333, #2, 3; Victory!, p. 367, #1; Animation 101, p. 384, #3; Ignoble Knight, p. 512, #1; Song, #1; My Song, #1; You Walked Gently, #1; Up, #1; Ode to My Socks, #3; Horse Fly Blue, #2; Out, Out, #5; Bear on Delhi Road, #1; Surf s Up, #1; Sense and Sensibility, #5; Survival in South, #2; LS1.05 explain the influence of social and historical values and perspectives on texts and the interpretation of texts (e.g., relate the social values in a period such as the Industrial Revolution, the Second World War, or the 1960s to a literary work from that period; compare a historical and a contemporary critique of a literary work). explain the influence of the personal and social values and perspectives of authors and readers on texts and interpretations of texts (e.g., explain how the word choice in an article or report demonstrates the author s attitude towards the topic; describe their own and others interpretations of a national or local news event or issue and suggest reasons for the similarities and differences; compare different representations of the same issue or historical event in two films or novels about heroism, war, or the immigrant experience). Learning the Language, p. 16, #1; Address, p. 41, #2; History Lesson, p. 260, #1; Drama Wrap-Up, p. 523, #1; Learning the Language, p. 16, #1; Address, p. 41, #2; History Lesson, p. 260, #1; Drama Wrap-Up, p. 523, #1; Silver Mine, Cobalt, #6; Boys and Girls, #5; Ramu and Rani, #1; Companions Past and Present, #1; Love Must Not Be Forgotten, #1; Gentlemen of Jungle, #1; Ode to My Socks, #5; My Old Newcastle, #5; Sense and Sensibility, #5; Ignoble Knight, #2; Silver Mine, Cobalt, #6; Boys and Girls, #5; Ramu and Rani, #1; Companions Past and Present, #1; Love Must Not Be Forgotten, #1; Gentlemen of Jungle, #1; Ode to My Socks, #5; My Old Newcastle, #5; Sense and Sensibility, #5; Ignoble Knight, #2; Overall Expectation: LSV.02 Understanding the Forms of Texts demonstrate an understanding of the elements of fiction, drama, poetry, and non-fiction, with an emphasis on novels and poems; [N.B. very important expectations here] demonstrate an understanding of the elements of a variety of informational and literary forms, with an emphasis on opinion pieces and the novel;

7 LS2.01 analyse and explain how key elements of the novel and poetic forms influence their meaning (intensive study) (e.g., assess the effect of an author s choice of narrator in a novel; analyse the relationship between character revelation and theme or message in a dramatic monologue); explain how elements of opinion pieces and novels influence their meaning (intensive study) (e.g., explain how the language of a letter to the editor reveals the attitude of the author; explain how the narrator selected for a novel influences the reader s understanding of plot and character); LS2.02 analyse how elements of literary forms other than novels and poetry are used to enhance meaning (extensive study) (e.g., compare a parody with the original text to understand the author s purpose; explain how the conflict and characterization in a short story enhance its social commentary); explain how elements of a variety of literary forms other than novels and opinion pieces are used to enhance meaning (extensive study) (e.g., explain how characters responses to crises contribute to the theme in different stories; show how the behaviour of a character in the early scenes of a drama foreshadows the ending of the play); LS2.03 analyse how elements of non-fiction Short Fiction Wrap- Up, p. 209, #6; SOS, p. 218, #1; Elegy on Mad Dog, p. 218, #1; Holy Sonnet 10, p. 227, #2; You Walked Gently, p. 243, #1; Schooner, p. 284, #1; Sonnet, p. 295, #1; Hidden Fence, p. 302, #2; Short Fiction Wrap- Up, p. 209, #6; SOS, p. 218, #1; Elegy on Mad Dog, p. 218, #1; Holy Sonnet 10, p. 227, #2; You Walked Gently, p. 243, #1; Schooner, p. 284, #1; Sonnet, p. 295, #1; Hidden Fence, p. 302, #2; Learning the Language, p. 16, #3; Boys and Girls, p. 59, #2; To Da-Duh, p. 121, #1; The Pedestrian, p. 158, #1; A Cap for Steve, p. 178, #2; Sunday in the Park, p. 184, #2; The Gentlemen of Jungle, p. 189, #1; Sense and Sensibility, p. 483, #2; Learning the Language, p. 16, #3; Boys and Girls, p. 59, #2; To Da-Duh, p. 121, #1; The Pedestrian, p. 158, #1; A Cap for Steve, p. 178, #2; Sunday in the Park, p. 184, #2; The Gentlemen of Jungle, p. 189, #1; Sense and Sensibility, p. 483, #2; Canadian Pioneers, p. 313, #2; Fear of The Tables Turned, #3; My Song, #5; Ode to My Socks, #1; Profile of Africa, #4; Narrow Fellow, #1; Korean Village, #2; The Tables Turned, #3; My Song, #5; Ode to My Socks, #1; Profile of Africa, #4; Narrow Fellow, #1; Korean Village, #2; Learning the Language, #1; Address, #2; Lamp at Noon, #3; Charmer, #4; To Da-Duh, #1; The Pedestrian, #1; Sunday in the Park, #3; Gentlemen of Jungle, #2; Sense and Sensibility, #3; Trifles, #3; Learning the Language, #1; Address, #2; Lamp at Noon, #3; Charmer, #4; To Da-Duh, #1; The Pedestrian, #1; Sunday in the Park, #3; Gentlemen of Jungle, #2; Sense and Sensibility, #3; Trifles, #3; Old Newcastle, #3; Canadian Pioneers, pp pp pp.68-72, 81-87, , , ,, pp ,

8 forms influence their meaning (e.g., explain how the pattern chosen to organize an argument is related to the content and purpose of the work). explain how elements of informational texts contribute to meaning (e.g., describe how headings, subheadings, and illustrations are used to convey information in a report or manual; describe and assess how the organization of a report or short essay contributes to its effectiveness). Science, p. 404, #2; #3; Cartography of Life Needs Myself, #3; Open Nourishing, p. 424, Car, #3; Wrong Ism, #1; Paws for #2; Where Do You Concern, p. 430, #1; Get Your Ideas Life of Sports Writer, From?, #3; Marilyn p. 441, #1; Bell, #2; Marilyn Bell, #4; Engineered Food, #1; Canadian Pioneers, p. 313, #2; Fear of Science, p. 404, #2; Life Needs Nourishing, p. 424, #1; Paws for Concern, p. 430, #1; Life of Sports Writer, p. 441, #1; Overall Expectation: LSV.03 Understanding the Elements of Style Old Newcastle, #3; Canadian Pioneers, #3; Cartography of Myself, #3; Open Car, #3; Wrong Ism, #2; Where Do You Get Your Ideas From?, #3; Marilyn Bell, #2; Marilyn Bell, #4; Engineered Food, #1; describe the elements of style in texts from various periods, and analyse their effects. identify elements of style in a variety of texts, with a focus on how the elements contribute to clear and effective communication.

9 LS3.01 analyse how language and syntax are used in texts to create a voice appropriate to the purpose and audience (e.g., compare essays by two authors on a similar theme or topic and determine how each author creates a personal voice; describe how diction is used to establish voice in the opening chapter of a novel); describe the language of a variety of informational and literary texts and explain how the language is used to communicate information and express opinions and emotions (e.g., compare several business and technical reports to identify characteristics of a plainlanguage style; analyse editorials and explain the effects of their use of persuasive words; assess the authenticity of the characters dialogue in a novel); Up, p. 259, #1; Out, Out, p. 274, #1; Macavity, p. 295, #1; Sonnet, p. 295, #2; Drama Wrap-Up, p. 523, #2; Up, p. 259, #1; Out, Out, p. 274, #1; Macavity, p. 295, #1; Sonnet, p. 295, #2; Drama Wrap-Up, p. 523, #2; Shivering Tree, #3; Learning the Language, #3; Lamp at Noon, #4; Television Drama, #4; Storyteller, #3, 4; Do Seek Their Meat from God, #1; Sometimes My Body Leaves Me, #3; Holy Sonnet 10, #3; The Lake Isle of Innisfree, #6; Falling Song, #4; History Lesson, #4; Job of Apple, #4; Narrow Fellow, #2; Schooner, #3, 4; Macavity, #2; Korean Village, #4; Neighbour, #4; Reaction-Interaction, #4; On Veterans, #3; Fear of Science, #4; Paws for Concern, #3; e-phobia?, #3; Life of Sports Writer, #2; Survival in South, #4; Shivering Tree, #3; Learning the Language, #3; Lamp at Noon, #4; Television Drama, #4; Storyteller, #3, 4; Do Seek Their Meat from God, #1; Sometimes My Body Leaves Me, #3; Holy Sonnet 10, #3; The Lake Isle of Innisfree, #6; Falling Song, #4; History Lesson, #4; Job of Apple, #4; Narrow Fellow, #2; Schooner, #3, 4; Macavity, #2; Korean Village, #4; Neighbour, #4; Reaction-Interaction, #4; On Veterans, #3; Fear of Science, #4; Paws for Concern, pp. 57, 75-76, , 170, , ,

10 LS3.02 describe how authors use rhetorical and literary devices, such as pun, caricature, cliché, hyperbole, antithesis, paradox, wit, sarcasm, and invective, to enhance the meaning of texts (e.g., explain how paradox is used to deepen meaning in poetry; assess the effectiveness of rhetorical devices used to emphasize the social criticism in a satirical essay); explain how rhetorical and literary devices enhance meaning in informational and literary texts (e.g., #3; e-phobia?, #3; Life of Sports Writer, #2; Survival in South, #4; Shivering Tree, p. 16, #1; Learning the Language, p. 16, #2; Lamp at Noon, p. 73, #2; Ode to My Socks, p. 260, #1; Titanic, p. 284, #1; Surf s Up, p. 395, #1; Garbage 101, p. 399, #2; Life of Sports Writer, p. 441, #3; Branta Canadensis, p. 471, #1; Shivering Tree, p. 16, #1; Learning the Language, p. 16, #2; Shivering Tree, #4; To Da-Duh, #3; The Pedestrian, #3; Cap for Steve, #3; SOS, #3; Elegy on Mad Dog, #2; My Last Duchess, #4; The Tables Turned, #4; Ode to Autumn, #3; My Song, #4; You Walked Gently, #3; Up, #2; Flower of Waves, #3; In the Morning, #4; Beautiful Summer, #3; Horse Fly Blue, #4; Out, Out, #3; Titanic, #4; Bear on Delhi Road, #3, 4; Mother, #3, 4; Macavity, #3; Macavity, #3, 4; Sonnet, #4; Korean Village, #3; Neighbour, #3; Cartography of Myself, #4; Where the World Began, #1, 2; Open Car, #4; Wrong Ism, #3; HMS Repulse, #3; William Golding, #5; Surf s Up, #3; Garbage 101, #4; How to Turn, #4; Engineered Food, #4; Living Language, #3; On Boy Trouble, #4; Paws for Concern, #3; Paws for Concern, #4; Life of Sports Writer, #4; Henry V, #4; Shakespearean Ball Game #3; Ignoble Knight, #4; Shivering Tree, #4; To Da-Duh, #3; The Pedestrian, #3; Cap pp. 150, , ,

11 assess the use of rhetorical questions as a means of introducing the topic or thesis of a report or essay; explain how hyperbole and understatement are used for ironic effect in a narrative); Lamp at Noon, p. 73, #2; Ode to My Socks, p. 260, #1; Titanic, p. 284, #1; Surf s Up, p. 395, #1; Garbage 101, p. 399, #2; Life of Sports Writer, p. 441, #3; Branta Canadensis, p. 471, #1; for Steve, #3; SOS, #3; Elegy on Mad Dog, #2; My Last Duchess, #4; The Tables Turned, #4; Ode to Autumn, #3; My Song, #4; You Walked Gently, #3; Up, #2; Flower of Waves, #3; In the Morning, #4; Beautiful Summer, #3; Horse Fly Blue, #4; Out, Out, #3; Titanic, #4; Bear on Delhi Road, #3, 4; Mother, #3, 4; Macavity, #3, 4; Sonnet, #4; Korean Village, #3; Neighbour, #3; Cartography of Myself, #4; Where the World Began, #1, 2; Open Car, #4; Wrong Ism, #3; HMS Repulse, #3; William Golding, #5; Surf s Up, #3; Garbage 101, #4; How to Turn, #4; Engineered Food, #4; Living Language, #3; On Boy Trouble, #4; Paws for Concern, #4; Life of Sports Writer, #4; Henry V, #4; Shakespearean Ball Game #3; Ignoble Knight, #4;

12 LS3.03 analyse the effect on the reader of authors choices of language, syntax, and literary and rhetorical devices by examining their own and others interpretations of the style of texts; explain the effect on the reader of authors choices of language, syntax, and rhetorical and literary devices by examining their own and others interpretations of the style of texts; LS3.04 explain how authors and editors use design elements to organize content and help communicate ideas (e.g., discuss how the captions for illustrations could be Do Seek Their Meat from God, p. 197, #2; The Pedestrian, #4; History Lesson, p. 260, #2; Profile of Africa, p. 261, #2; Horse-Fly Blue, p. 267, #2; Job of Apple, p. 274, #2; Korean Village, p. 301, #1; On Veterans, p. 380, #2; How to Turn, p. 401, #1; Non-Fiction Wrap- Up, p. 443, #2; Do Seek Their Meat from God, p. 197, #2; The Pedestrian, #4; History Lesson, p. 260, 2; Profile of Africa, p. 261, #2; Horse-Fly Blue, p. 267, #2; Job of Apple, p. 274, #2; Korean Village, p. 301, #1; On Veterans, p. 380, #2; How to Turn, p. 401, #1; Non-Fiction Wrap- Up, p. 443, #2; Bear on Delhi Road, p. 285, #1; Reaction- Interaction, p. 318, #1; Where Do You Get Your Ideas Do Seek Their Meat from God, #3; Elegy on Mad Dog, #3; Sometimes My Body Leaves Me, #4; Holy Sonnet 10, #4; In Progress, #3; The Lake Isle of Innisfree, #3, 4; Falling Song, #3; My Song, #3; Poetry, #4; In the Morning, #3; Beautiful Summer, #2; Horse Fly Blue, #3; Narrow Fellow, #3, 4; Schooner, #1; Titanic, #3; Bear on Delhi Road, #2; Sonnet, #3; My Old Newcastle, #2; Canadian Pioneers, #4; On Boy Trouble, #3; Do Seek Their Meat from God, #3; Elegy on Mad Dog, #3; Sometimes My Body Leaves Me, #4; Holy Sonnet 10, #4; In Progress, #3; The Lake Isle of Innisfree, #3, 4; Falling Song, #3; My Song, #3; Poetry, #4; In the Morning, #3; Beautiful Summer, #2; Horse Fly Blue, #3; Narrow Fellow, #3, 4; Schooner, #1; Titanic, #3; Bear on Delhi Road, #2; Sonnet, #3; My Old Newcastle, #2; Canadian Pioneers, #4; On Boy Trouble, #3; In Progress, #4; My Song, #6; Flower of Waves, #4; Beautiful Summer, #5; Neighbour, #5; pp , p. 183, , , 235, pp , ,

13 written to achieve either a comic or a serious effect; explain the choice of photographs used in a biography). From?, p. 357, #1; Off to War, p. 375, #3; Talking Mace, p. 412, #1; Girls in the Media, p. 421, #1; Hidden Fence, #4; Off to War, #3; Engineered Food, #3; Talking Mace, #6; Girls in the Media, #3; Girls in the Media, #5; explain how authors and editors use design elements to organize content and communicate ideas (e.g., explain the importance of marginal notes, diagrams, and captions in a textbook or report; assess the value of supplementary information in boxes in newspaper and magazine articles; explain the role of introductory and concluding summaries in sections of a technical manual). Writing Bear on Delhi Road, p. 285, #1; Reaction- Interaction, p. 318, #1; Where Do You Get Your Ideas From?, p. 357, #1; Off to War, p. 375, #3; Talking Mace, p. 412, #1; Girls in the Media, p. 421, #1; In Progress, #4; My Song, #6; Flower of Waves, #4; Beautiful Summer, #5; Neighbour, #5; Hidden Fence, #4; Off to War, #3; Engineered Food, #3; Talking Mace, #6; Girls in the Media, #3; Girls in the Media, #5; Overall Expectation: RV.01 Generating Ideas and Gathering Information use a variety of print and electronic primary and secondary sources to gather and assess information and develop ideas for writing; use a variety of print and electronic primary and secondary sources to gather and analyse information and develop ideas for writing;

14 WR1.01 investigate potential topics by posing questions, identifying information needs and purposes for writing, and developing research plans to gather information and ideas from primary and secondary sources (e.g., consult a CD-ROM or online database to find information for an essay on a theme in a work studied; search library on-line catalogues to determine the availability of an author s works); investigate potential topics by formulating questions, identifying information needs and purposes for writing, and developing research plans to acquire information and ideas (e.g., consult a CD-ROM to find information for a report about the author of a novel; identify the accessibility of relevant sources for a class presentation on a social issue); Fire Down on the Labrador, p. 61, #1; Lamp at Noon, p. 73, #3; Love Must Not be Forgotten, p. 146, #3; Short Fiction Wrap- Up, p. 209, #1; In Progress, p. 226, #2; You Walked Gently, p. 243, #2; Flower of Waves, p. 251, #2; Narrow Fellow, p. 275, #2; Poetry Wrap-Up, p. 303, #6; Cartography of Myself, p. 323, #3; Open Car, p. 342, #3; HMS Repulse, p. 373, #3; William Golding, p. 391, #3; Surf s Up, p. 395, #3; Talking Mace, p. 412, #3; Drama Wrap-Up, p. 523, #1; Fire Down on the Labrador, p. 61, #1; Lamp at Noon, p. 73, #3; Love Must Not be Forgotten, p. 146, #3; Short Fiction Wrap- Up, p. 209, #1; In Progress, p. 226, #2; You Walked Gently, p. 243, #2; Flower of Waves, p. 251, #2; Narrow Fellow, p. 275, #2; Poetry Wrap-Up, p. 303, #6; Cartography of Myself, p. 323, #3; Open Car, p. 342, #3; HMS Repulse, p. 373, #3; William Golding, p. 391, #3; Surf s Up, p. 395, #3; Talking Mace, p. 412, #3; Shivering Tree, #5; Address, #5; Gentlemen of Jungle, #6; Do Seek Their Meat from God, #5; Elegy on Mad Dog, #5; Ode to Autumn, #5; You Walked Gently, #5; Untitled (Vancouver), #3; Ode to My Socks, #5; Bear on Delhi Road, #5, 6; Mother and Child, #1; Mother, #6; Hidden Fence, #1; Hidden Fence, #5; Where Do You Get Your Ideas From?, #1; Victory!, #1; William Golding, #6; Talking Mace, #1; Living Language, #2; Living Language, #6; Paws for Concern, #6; Sustainable Development, #4; e- phobia?, #6; Life of Sports Writer, #5; King Kong, #5; Shivering Tree, #5; Address, #5; Gentlemen of Jungle, #6; Do Seek Their Meat from God, #5; Elegy on Mad Dog, #5; Ode to Autumn, #5; You Walked Gently, #5; Untitled (Vancouver), #3; Ode to My Socks, #5; Bear on Delhi Road, #5, 6; Mother and Child, #1; Mother, #6; Hidden Fence, #1; Hidden Fence, #5; Where Do You Get Your Ideas From?, #1; Victory!, #1; William Golding, #6; Talking Mace, #1; Living Language, pp. 4-48, 87-90,

15 Drama Wrap-Up, p. 523, #1; #2; Living Language, #6; Paws for Concern, #6; Sustainable Development, #4; e- phobia?, #6; Life of Sports Writer, #5; King Kong, #5; WR1.02 organize and analyse information, ideas, and sources to suit specific forms and purposes for writing (e.g., group information and ideas to focus on key concepts for an essay; create a pattern of imagery for writing a sonnet); Address, p. 41, #3; Fire Down on the Labrador, p. 61, #2; Ode to Autumn, p. 234, #2; Open Car, p. 342, #2; Non-Fiction Wrap-Up, p. 443, #1; Henry V, p. 449, #3; Drama Wrap-Up, p. 523, #3; Fire Down on the Labrador, #5; Walk to the Jetty, #4; To Da-Duh, #4; Handful of Dates, #1; Cap for Steve, #1; Falling Song, #6; Poetry, #5; Flower of Waves, #6; History Lesson, #6; Profile of Africa, #5; Out, Out, #2; Job of Apple, #5; Korean Village, #6; Marilyn Bell, #5; Talking Mace, #4; Henry V, #3; pp , 33-35, 60-61, classify and organize information and ideas to suit specific forms and purposes for writing (e.g., sort information from different sources for a report on effective business practices; organize information to support the arguments for an opinion piece; use a graphic organizer to make connections between ideas or to show time order in a narrative); Address, p. 41, #3; Fire Down on the Labrador, p. 61, #2; Ode to Autumn, p. 234, #2; Open Car, p. 342, #2; Non-Fiction Wrap-Up, p. 443, #1; Henry V, p. 449, #3; Drama Wrap-Up, p. 523, #3; Fire Down on the Labrador, #5; Walk to the Jetty, #4; To Da-Duh, #4; Handful of Dates, #1; Cap for Steve, #1; Falling Song, #6; Poetry, #5; Flower of Waves, #6; History Lesson, #6; Profile of Africa, #5; Out, Out, #2; Job of Apple, #5; Korean Village, #6; Marilyn Bell, #5; Talking Mace, #4; Henry V, #3;

16 WR1.03 formulate and refine a thesis, using information and ideas from prior knowledge and research (e.g., develop a thesis for an analysis of a satirical novel; integrate information and ideas acquired from a variety of sources for a personal essay on a topic or issue); use information and ideas from prior knowledge and research to develop content for writing (e.g., interview an employee for an essay about teamwork and cooperation in business; apply knowledge of characterization techniques to write a short essay about the major character in a Canadian novel); WR1.04 evaluate information and ideas to determine whether they are reliable, current, sufficient, and relevant to the purpose and audience. analyse and assess the information and ideas gathered from a variety of print and electronic sources to determine whether they are accurate, current, sufficient, relevant, and suitable to the form and Short Fiction Wrap- Up, p. 209, #1; Poetry Wrap-Up, p. 303, #5; Animation 101, p. 384, #3; Fear of Science, p. 404, #3; Engineered Food, p. 408, #3; Girls in the Media, p. 421, #2; Life Needs Nourishing, p. 424, #3; Non-Fiction Wrap-Up, p. 443, #4; Henry V, p. 448, #1; Trifles, p. 500, #2; Short Fiction Wrap-Up, p. 209, #1; Poetry Wrap- Up, p. 303, #5; Animation 101, p. 384, #3; Fear of Science, p. 404, #3; Engineered Food, p. 408, #3; Girls in the Media, p. 421, #2; Life Needs Nourishing, p. 424, #3; Non-Fiction Wrap- Up, p. 443, #4; Henry V, p. 448, #1; Trifles, p. 500, #2; Lamp at Noon, p. 73, #3; Love Must Not Be Forgotten, p. 146, #3; Short Fiction Wrap-Up, p. 209, #1; In Progress, p. 226, #2; HMS Repulse, p. 373, #2; William Golding, p. 391, #3; Talking Mace, p. 412, #3; Lamp at Noon, p. 73, #3; Love Must Not Be Forgotten, p. 146, #3; Short Fiction Wrap- Up, p. 209, #1; In Progress, p. 226, #2; Boys and Girls, #6; Ramu and Rani, #5; Love Must Not Be Forgotten, #4; Holy Sonnet 10, #6; Off to War, #6; Animation 101, #6; Boys and Girls, #6; Ramu and Rani, #5; Love Must Not Be Forgotten, #4; Holy Sonnet 10, #6; Off to War, #6; Animation 101, #6; Shivering Tree, #5; Television Drama, #6; Gentlemen of Jungle, #4; Do Seek Their Meat from God, #5; Elegy on Mad Dog, #5; Ode to Autumn, #5; Ode to My Socks, #5; Hidden Fence, #1, 5; History Lesson, #1; Sonnet, #6; William Golding, #6; Living Language, #6; Paws for Concern, #6; Sustainable Development, #4; Shivering Tree, #5; Television Drama, #6; Gentlemen of Jungle, #4; Do Seek Their Meat from God, #5; Elegy on Mad pp , 69-70, pp , 89-91

17 purpose for writing. HMS Repulse, p. 373, #2; William Golding, p. 391, #3; Talking Mace, p. 412, #3; Dog, #5; Ode to Autumn, #5; Ode to My Socks, #5; Hidden Fence, #1, 5; History Lesson, #1; Sonnet, #6; William Golding, #6; Living Language, #6; Paws for Concern, #6; Sustainable Development, #4; Overall Expectation: WRV.02 Choosing the Form to Suit the Purpose and Audience select and use appropriate writing forms for intended purposes and audiences with a focus on essays and on narratives or poems; select and use appropriate writing forms for various purposes and audiences with a focus on reports, correspondence, and persuasive essays; WR2.01 U demonstrate an understanding of the uses and conventions of various forms by writing persuasive and literary essays, reviews, short narratives or poems, and summaries (e.g., write a personal essay on a current issue; write an academic essay analysing the themes or imagery of literature studied; write a film review for the school newspaper); Shivering Tree, p. 16, #2; Boys and Girls, p. 59, #3; Ode to My Socks, p. 260, #2; In the Morning, p. 266, #2; Where Do You Get Your Ideas From?, p. 357, #3; Shivering Tree, #6; Learning the Language, #6; Address, #6; Charmer, #5; Handful of Dates, #5; Companions Past and Present, #6; Television Drama, #5; Storyteller, #5; Holy Sonnet #1; Sometimes My Body Leaves Me, #6; In Progress, #6; Sense and Sensibility, #6; pp , , , , WR2.02 U select and use an appropriate form to produce written work for an intended audience and purpose (e.g., write a poem about being Canadian for a reader in another country; write a report for an academic audience on the historical context of a literary work studied); Boys and Girls, p. 59, #3; Charmer, p. 109, #2; Companions Past and Present, p. 131, #1; The Pedestrian, p. 158, #2, 3; The Gentlemen of Jungle, p. 189, #3; Short Fiction Wrap-Up, p. 209, #4; Sometimes My Body Leaves Me, p. 219, #1; The Lake Isle of Innisfree, p. 235, #2; Ode to My Socks, p. 260, #2; In the Morning, p. 266, #1; In the Morning, p. 266, #2; Beautiful Brother Dear, #1, 5; Address, #4; Silver Mine, Cobalt, #4; Lamp at Noon, #6; Walk to the Jetty, #3, 6; To Da-Duh, #6; Handful of Dates, #6; Storyteller, #6; Sunday in the Park, #1; SOS, #6; Elegy on Mad Dog, #6; Holy Sonnet 10, #1; My Last Duchess, #6; Ode to Autumn, #2; Falling Song, #6; You Walked Gently, #5; Untitled (Vancouver), #2; p. 64, , , pp , ,

18 Summer, p. 266, #2; Schooner, p. 284, #2; Mother and Child, p. 287, #2; Mother, p. 294, #2; Where Do You Get Your Ideas From?, p. 357, #3; Marilyn Bell, p. 365, #3; Victory!, p. 367, #3; Surf s Up, p. 395, #2; Paws for Concern, p. 430, #2; Shakespearean Baseball Game, p. 461, #3; Branta Canadensis, p. 471, #3; Trifles, p. 500, #3; Ignoble Knight, p. 512, #3; Survival in South, p. 522, #2, 3; History Lesson, #6; In the Morning, #6; Horse Fly Blue, #5; Out, Out, #5; Narrow Fellow, #5; Schooner, #6; Mother and Child, #2; Macavity, #1; Sonnet, #3; Sonnet, #5; Sonnet, #6; Korean Village, #5; Hidden Fence, #2; My Old Newcastle, #6; Albert Einstein, #2; HMS Repulse, #6; On Veterans, #5; Engineered Food, #6; Paws for Concern, #2; Life of Sports Writer, #6;

19 WR2.01 C select and use appropriate informational or literary forms to produce written work for specific audiences and purposes, with an emphasis on reports, correspondence, and persuasive essays (e.g., summarize a magazine article on a topic of personal interest for a report to the class; write a letter requesting information about a college program; write a short essay presenting a solution to a community problem); WR2.03 U analyse the characteristics of literary and informational texts as models of writing for specific purposes and audiences; Boys and Girls, p. 59, #3; Charmer, p. 109, #2; Companions Past and Present, p. 131, #1; The Pedestrian, p. 158, #2, 3; The Gentlemen of Jungle, p. 189, #3; Short Fiction Wrap-Up, p. 209, #4; Sometimes My Body Leaves Me, p. 219, #1; The Lake Isle of Innisfree, p. 235, #2; Ode to My Socks, p. 260, #2; In the Morning, p. 266, #1; Beautiful Summer, p. 266, #2; Schooner, p. 284, #2; Mother and Child, p. 287, #2; Mother, p. 294, #2; Marilyn Bell, p. 365, #3; Victory!, p. 367, #3; Surf s Up, p. 395, #2; Paws for Concern, p. 430, #2; Shakespearean Baseball Game, p. 461, #3; Branta Canadensis, p. 471, #3; Trifles, p. 500, #3; Ignoble Knight, p. 512, #3; Survival in South, p. 522, #2, 3; Handful of Dates, p. 129, #2; The Pedestrian, p. 158, #3; Beautiful Summer, p. 266, #2; Job of Apple, p. 274, #1; Mother, p. 294, #2; Sonnet, p. 295, #2; Korean Village, p. 301, #2; Cartography of Myself, p. 323, #2; Brother Dear, #1, 5; Address, #4; Silver Mine, Cobalt, #4; Lamp at Noon, #6; Walk to the Jetty, #3, 6; To Da-Duh, #6; Handful of Dates, #6; Storyteller, #6; Sunday in the Park, #1; SOS, #6; Elegy on Mad Dog, #6; My Last Duchess, #6; Ode to Autumn, #2; Falling Song, #6; You Walked Gently, #5; Untitled (Vancouver), #2; History Lesson, #6; In the Morning, #6; Horse Fly Blue, #5; Out, Out, #5; Narrow Fellow, #5; Schooner, #6; Mother and Child, #2; Macavity, #1; Sonnet, #3; Sonnet, #5; Sonnet, #6; Korean Village, #5; Hidden Fence, #2; My Old Newcastle, #6; Albert Einstein, #2; HMS Repulse, #6; On Veterans, #5; Engineered Food, #6; Paws for Concern, #2; Life of Sports Writer, #6; Handful of Dates, #6; Do Seek Their Meat from God, #5; The Tables Turned, #5; My Song, #5; You Walked Gently, #6; Profile of Africa, #6; In the Morning, #6; Narrow Fellow, #5; Sonnet, #5; Neighbour, #6; Animation 101, #5; Survival in South, #6; pp , 22-23, 30, 56, 63, 65-66, 67, 69-72, 78-79, 82-86, , , 111, 114, 115, , 120, , , , , , 146, 147, , 151, 152, 153, 154, , 157, 158, 159, , , , 180, 183, 184, 186, , , , ,

20 WR2.04 U select and use a level of language and a voice appropriate to the specific purpose and intended audience for a piece of writing (e.g., use colloquialisms to establish an authentic voice for a character in a short narrative; use an appropriate voice in an academic essay on a work of literature). WR2.02 C select and use a level of language and a voice appropriate to the specific purpose and intended audience for business, technical, and personal communications (e.g., use an appropriate voice to convey information about a policy in a memo) , , 240, 243, 246, 249, , 269, , , , , 307, 311, Handful of Dates, p. 129, #2; Love Must Not be Forgotten, p. 146, #2; My Last Duchess, p. 227, #1; Ode to Autumn, p. 234, #1; Bear on Delhi Road, p. 285, #2; Poetry Wrap-Up, p. 303, #4; My Old Newcastle, p. 309, #3; Marilyn Bell, p. 365, #3; HMS Repulse, p. 372, #1; Off to War, p. 375, #2; Engineered Food, p. 408, #2; Sense and Sensibility, p. 483, #3; Trifles, p. 500, #3; Ignoble Knight, p. 512, #3; Charmer, #6; My Last Duchess, #3; Untitled (Vancouver), #6; Schooner, #6; Open Car, #1; Marilyn Bell, #6; HMS Repulse, #6; On Veterans, #4; Life Needs Nourishing, #6; Shakespearean Baseball Game, #6; Ignoble Knight, #6; Survival in South, #6; pp , 170, HMS Repulse, #6 pp Overall Expectation: WRV.03 Organizing Ideas and Information in Written Work use a variety of organizational structures and patterns to produce coherent and effective written work; use a variety of organizational structures and patterns to produce coherent and effective written work; WR3.01 U apply knowledge of essay structure to organize short essays or critiques, using: - an introduction that engages the reader s interest, introduces the thesis or controlling idea, and previews the organization or content of the essay; - a body that develops ideas logically and coherently and incorporates well- Lamp at Noon, p. 73, #3; Ramu and Rani, p. 85, #2; Walk to the Jetty, p. 99, #1; Charmer, p. 109, #3; Short Fiction Wrap- Up, p. 209, #1; Poetry Wrap-Up, p. 303, #5; Where the World Began, p. 333, #3; Animation 101, p. Brother Dear, #3; Boys and Girls, #6; Ramu and Rani, #5; Love Must Not Be Forgotten, #4; Television Drama, #4; Storyteller, #3; Holy Sonnet 10, #6; The Lake Isle of Innisfree, #6; Poetry, #4; Ode to My Socks, pp

21 chosen, relevant evidence to support each idea; - a conclusion that follows logically from the thesis and ideas developed in the body, summarizes the key points and organization in the body, and makes a thoughtful generalization related to the controlling idea; 384, #3; Engineered Food, p. 408, #3; Girls in the Media, p. 421, #2; Living Language, p. 422, #2; Life Needs Nourishing, p. 424, #3; Non-Fiction Wrap-Up, p. 443, #4; Henry V, p. 449, #3; Trifles, p. 500, #2; Drama Wrap-Up, p. 523, #3; #4; Out, Out, #4; Korean Village, #4; Hidden Fence, #6; Open Car, #6; Off to War, #6; Animation 101, #6; On Boy Trouble, #3, 6; Paws for Concern, #5;

22 WR3.03 C apply knowledge of essay structure to organize short essays, using: - an introduction that engages the reader s interest, introduces the thesis or controlling idea, and previews the organization or content of the essay; - a body that develops ideas logically and coherently and incorporates well-chosen, relevant evidence to support each idea; - a conclusion that follows logically from the thesis and ideas developed in the body, summarizes the key points and organization in the body, and makes a thoughtful generalization related to the controlling idea; WR3.02 U select and use appropriate organizational devices and patterns to structure short stories, poems, and multimedia presentations (e.g., use flashbacks to present background information in a short story; use extended metaphor in a poem; use a storyboard to establish sequence in a scene from a literary work); WR3.01 C select and use appropriate organizational patterns to structure written work (e.g., use a question-and-answer structure to format an information pamphlet about a product or service; use chronological order and flashbacks to organize information about a character in a script; use classification to organize a class anthology of student writing); Lamp at Noon, p. 73, #3; Ramu and Rani, p. 85, #2; Walk to the Jetty, p. 99, #1; Charmer, p. 109, #3; Short Fiction Wrap- Up, p. 209, #1; Poetry Wrap-Up, p. 303, #5; Where the World Began, p. 333, #3; Animation 101, p. 384, #3; Engineered Food, p. 408, #3; Girls in the Media, p. 421, #2; Living Language, p. 422, #2; Life Needs Nourishing, p. 424, #3; Non-Fiction Wrap-Up, p. 443, #4; Henry V, p. 449, #3; Trifles, p. 500, #2; Drama Wrap-Up, p. 523, #3; Handful of Dates, p. 129, #1; Love Must Not be Forgotten, p. 145, #1; SOS, p. 218, #2; HMS Repulse, p. 373, #3; Sustainable Development, p. 436, #3; Non-Fiction Wrap-Up, p. 443, #5; Shakespearean Baseball Game, p. 461, #2; King Kong, p. 473, #2; Handful of Dates, p. 129, #1; Love Must Not be Forgotten, p. 145, #1; SOS, p. 218, #2; HMS Repulse, p. 372, #3; Non-Fiction Wrap-Up, p. 443, #5; Shakespearean Baseball Game, p. 461, #2; King Kong, p. 473, #2; Brother Dear, #3; Boys and Girls, #6; Ramu and Rani, #5; Love Must Not Be Forgotten, #4; Television Drama, #4; Storyteller, #3; Holy Sonnet 10, #6; The Lake Isle of Innisfree, #6; Poetry, #4; Ode to My Socks, #4; Out, Out, #4; Korean Village, #4; Hidden Fence, #6; Open Car, #6; Off to War, #6; Animation 101, #6; On Boy Trouble, #3, 6; Paws for Concern, #5; Boys and Girls, #3; Fire Down on the Labrador, #3; Untitled (Vancouver), #4; In the Morning, #5; Titanic, #1; Titanic, #6; Cartography of Myself, #6; Victory!, #5; Talking Mace, #5; Girls in the Media, #6; Trifles, #6; Boys and Girls, #3; Fire Down on the Labrador, #3; Untitled (Vancouver), #4; In the Morning, #5; Titanic, #1; Titanic, #6; Cartography of Myself, #6; Victory!, #5; Talking Mace, #5; Girls in the Media, #6; Trifles, #6; pp , , , , 225, , pp , WR3.02 C Love Must Not Be Sonnet, #6; Off to pp

23 apply knowledge of report structure to organize written reports, using: - an introduction that identifies the topic and explains its significance or poses an inquiry question; - a body that presents information and data in connected and coherent paragraphs supported by graphics, illustrations, and charts; Forgotten, p. 146, #3;Albert Einstein, p. 325, #1; HMS Repulse, p. 373, #2; William Golding, p. 391, #1; War, #6; Boy Trouble, #3; Girls in the Media, #6; - a conclusion that presents insights or recommendations; WR3.03 U use organizational patterns such as classification, definition, cause and effect, and chronological order to present information and ideas in essays, reviews, and summaries. Fire Down on the Labrador, p. 61, #3; Walk to the Jetty, p. 99, #2; A Cap for Steve, p. 178, #3; You Walked Gently, p. 243, #2; Beautiful Summer, p. 266, #1; Titanic, p. 284, #1; Poetry Wrap-Up, p. 303, #2; Reaction- Interaction, p. 318, #3; Surf s Up, p. 395, #3; On Boy Trouble, p. 425, #1; Ramu and Rani, #3; Gentlemen of Jungle, #3; Initiation, #3; In Progress, #1; Falling Song, #2; You Walked Gently, #4; Ode to My Socks, #4; Hidden Fence, #6; Where the World Began, #2; Surf s Up, #4; Sustainable Development, #5; Shakespearean Baseball Game, #2; Sense and Sensibility, #1; Trifles, #2; pp WR3.04 C use organizational patterns such as cause and effect, classification, and definition to present information and ideas in reports and short essays. Fire Down on the Labrador, p. 61, #3; Walk to the Jetty, p. 99, #2; A Cap for Steve, p. 178, #3; You Walked Gently, p. 243, #2; Beautiful Summer, p. 266, #1; Titanic, p. 284, #1; Poetry Wrap-Up, p. 303, #2; Reaction- Interaction, p. 318, #3; Surf s Up, p. 395, #3; On Boy Trouble, p. 425, #1; Ramu and Rani, #3; Gentlemen of Jungle, #3; Initiation, #3; In Progress, #1; Falling Song, #2; You Walked Gently, #4; Ode to My Socks, #4; Hidden Fence, #6; Where the World Began, #2; Surf s Up, #4; Sustainable Development, #5; Shakespearean Baseball Game, #2; Sense and Sensibility, #1; Trifles, #2; Overall Expectation: WRV.04 Revising Drafts revise their written work, independently and collaboratively, with a focus on accuracy of information, clear expression, and consistent use of voice; revise their written work, independently and collaboratively, with a focus on accuracy of information, clear expression, and consistent use of voice;

24 WR4.01 revise drafts to strengthen content and improve organization by refining the controlling idea; making connections among ideas; integrating details; and reordering information, ideas, and images (e.g., combine several ideas from an early draft to form a controlling idea for an essay; change the order of images in a poem to enhance the emotional impact); revise drafts to strengthen content and improve organization by adding details, deleting irrelevant information, and reordering ideas (e.g., revise a report to list a series of recommendations in order of priority; delete irrelevant arguments to enhance the impact of a persuasive essay; add details to reveal more about a character s motivations); WR4.02 revise drafts to improve clarity of expression (e.g., find specialized or academic vocabulary in reference resource materials to replace vague or inaccurately used words; review the use of active and passive verb voice in formal writing); Lamp at Noon, p. 73, #3; Cap for Steve, p. 178, #3; Horse-Fly Blue, p. 267, #1; Mother and Child, p. 287, #2; Korean Village, p. 301, #2; Off to War, p. 375, #1; Lamp at Noon, p. 73, #3; Cap for Steve, p. 178, #3; Horse-Fly Blue, p. 267, #1; Mother and Child, p. 287, #2; Korean Village, p. 301, #2; Off to War, p. 375, #1; Lamp at Noon, p. 73, #3; To Da-Duh, p. 121, #3; Schooner, p. 284, #2; King Kong, p. 473, #3; Ramu and Rani, #5; Handful of Dates, #6; Sunday in the Park, #5; You Walked Gently, #6; Horse-Fly Blue, #5; Titanic, #5; Cartography of Myself, #2; Animation 101, #6; Surf s Up, #5; Ramu and Rani, #5; Handful of Dates, #6; Sunday in the Park, #5; You Walked Gently, #6; Horse-Fly Blue, #5; Titanic, #5; Cartography of Myself, #2; Animation 101, #6; Surf s Up, #5; Charmer, #6; Neighbour, #6; Canadian Pioneers, #6; HMS Repulse, #6; On Boy Trouble, #6; Paws for Concern, #5; pp , 95 pp , 95, pp. [Appendix B all pages] revise drafts to increase precision and clarity of expression by incorporating appropriate business and technical language and transition words (e.g., use a dictionary and thesaurus to find specialized vocabulary to replace vague or inaccurately used words); WR4.03 revise drafts to refine voice in written work (e.g., highlight pronouns to check for consistent use of person in an academic essay; read a passage aloud to listen for a distinctive voice; change the direct speech of characters in a short story to reflect their different personalities; examine writing for use of inclusive and anti-discriminatory language); revise drafts to ensure consistent use of an appropriate voice and tone (e.g., Do Seek Their Meat from God, p. 197, #3; Poetry Wrap-Up, p. 303, #4; My Old Newcastle, p. 309, #3; Marilyn Bell, p. 365, #3; Trifles, p. 500, #3; Do Seek Their Meat from God, p. 197, #3; HMS Repulse, #6; pp , 317 Walk to the Jetty, #6; Ode to Autumn, #6; History Lesson, #6; Open Car, #6; Survival in the South, #6; Walk to the Jetty, #6; Ode to Autumn, #6; pp , 95

25 highlight pronouns to check for consistent use of person in a report or memo; use feedback from a peer conference to assess the appropriateness of voice used in a set of instructions or tone in a character s direct speech; examine writing for use of inclusive and anti-discriminatory language); Poetry Wrap-Up, p. 303, #4; My Old Newcastle, p. 309, #3; Marilyn Bell, p. 365, #3; Trifles, p. 500, #3; History Lesson, #6; Open Car, #6; Survival in the South, #6; WR4.04 revise drafts to incorporate researched information, ideas, and quotations accurately, ethically, and consistently (e.g., incorporate researched information by using parenthetical referencing according to acceptable research methodology; use appropriate words and phrases to introduce borrowed information and ideas; create charts, graphs, or diagrams to incorporate information from research). Lamp at Noon, p. 73, #3; Pedestrian, p. 158, #1; Trifles, p. 500, #2; Holy Sonnet 10, #6; Profile of Africa, #5; pp , pp. 000[appendix A2 all pages] revise drafts to integrate researched information, ideas, and quotations in an ethical manner (e.g., use parenthetical referencing; use transition words and phrases to provide a context for quoted material). Lamp at Noon, p. 73, #3; Pedestrian, p. 158, #1; Trifles, p. 500, #2; Holy Sonnet 10, #6; Profile of Africa, #5; Overall Expectation: WRV.05 Editing, Proofreading, and Publishing edit and proofread to produce final drafts, using correctly the grammar, usage, spelling, and punctuation conventions of standard Canadian English, as prescribed for this course, with the support of print and electronic resources when appropriate. edit and proofread to produce final drafts, using correctly the grammar, usage, spelling, and punctuation conventions of standard Canadian English, as specified for this course, with the support of print and electronic resources when appropriate. WR5.01 cite researched information, ideas, and quotations according to acceptable research methodology (e.g., cite sources using a recognized style such as that of the Modern Language Association [MLA] or the traditional footnote/endnote system known as the Chicago style; use parenthetical referencing; create bibliographies); Pedestrian, p. 158, #1; Sometimes My Body Leaves Me, p. 219, #2; William Golding, p. 391, #1; Non-Fiction Wrap- Up, p. 443, #3; Trifles, p. 500, #2; Ramu and Rani, #6; Profile of Africa, #5; Beautiful Summer, #6; pp , [appendix A: 2] cite researched information, ideas, and quotations in a consistent and ethical manner according to acceptable research methodology (e.g., cite sources using a Pedestrian, p. 158, #1; Sometimes My Body Leaves Me, p. 219, #2; William Ramu and Rani, #6; Profile of Africa, #5; Beautiful Summer, #6;