Viewpoints 12 and Reference Points · Viewpoints 12 Teacher Resource Reference Points ELA 30-1...

Curriculum Correlation Chart

Viewpoints 12 and Reference Points

English Language Arts 30-1

(Program of Studies for Senior High School English Language Arts)

© 2002 Pearson Education Canada Inc.

Viewpoints 12 Teacher Resource Reference

Points ELA 30-1 Outcomes General Outcome 1 – Students will listen, speak, read, write, view and represent to explore thoughts, ideas, feelings and experiences. 1.1 Discover possibilities 1.1.1 Form tentative understandings, interpretations and positions 1.1.1.1 draw from a repertoire of effective strategies to form tentative understandings, interpretations and positions

Was It a Dream? p. 153, #1; Chameleons and Codas, p. 228, #1; Guy Lafleur, p. 250, #1; My Mother’s Blue Bowl, p. 255, #1; Migrant Mother, p. 256, #1; Paradise, a Poet, and Promised Land, p. 330, #1; Buying Your Next Synthesizer, p. 348, #1; Shower at Ohashi Bridge, p. 368, #1; The Poetry of Earth and Sky, p. 370, #1; Evening, p. 484, #1; vancouver–courtenay–calgary, p. 491, #1; Progress, p. 526, #1; The River, p. 544, #1; Sonnet 116, p. 571, #1; Because I Could Not Stop for Death—, #1; Set Design for The Foreigner, p. 634, #1; Shakespeare: Activities, p. 700, #1

Twisted Roots, #4; A Devoted Son, #1; Windows, #1; Easter at My Aunt’s, #1, #2; Peace and War, #1; The Spirit of Haida Gwaii, #3; A Place to Stand On, #3; Chameleons and Codas, #1; Elegy in Stone, #1; Of Youth and Age, #5; Get Beyond Babel, #2; Wanderers by Choice, #2; Peace, Technology, and the Role of Ordinary People, #1; Landscape with the Fall of Icarus, #2; The Monkey’s Paw, #1; Engineers’ Corner, #1; Is the Pathetic Fallacy True? #1, #4; Fern Hill, #2; Musée des Beaux Arts, #1; People on the Bridge, #1; grammar poem, #2; Mu-lan, #1; From The Canterbury Tales, #2; The Rime of the Ancient Mariner, #2; Because I Could Not Stop for Death—, #1, #2, #3; Stop! #1; Invisible Genius, #1; The Shakespearean Tragic Hero, #1

pp. 5–40; 49–60

1.1.1.2 affirm and strengthen, or modify tentative interpretations of works of literature and tentative positions on issues communicated by texts, by weighing and assessing the validity of own and others’ ideas, observations and opinions

The Rocking-Horse Winner, p. 34, #1; Calgary from Sunnyside, p. 46, #1; Twisted Roots, p. 60, #1; A Devoted Son, p. 86, #1; The Winner, p. 108, #1; Peace and War, p. 141, #2, #3; Was It a Dream? p. 153, #1; Chameleons and Codas, p. 228, #1; Guy Lafleur, p. 250, #1; Migrant Mother, p. 256, #1; Why I Write, p. 263, #3; Get Beyond Babel, p. 299, #2; Ours by Design, p. 362, #1; Shower at Ohashi Bridge, p. 368, #1; Evening, p. 484, #1; Birch Bark, p. 488, #1; vancouver–courtenay–calgary, p. 491, #1; The River, p. 544, #1; Dover Beach, p. 607, #2; Because I Could Not Stop for Death—, p. 610, #1

The Rocking-Horse Winner, #2; Write Me Sometime, #1; Calgary from Sunnyside, #1; Twisted Roots, #4; A Devoted Son, #5; Magpies, #3; The Winner, #2; Easter at My Aunt’s, #1, #2; Peace and War, #1, #2; The Spirit of Haida Gwaii, #3; Was It a Dream? #1; From No Great Mischief, #1, #5; A Place to Stand On, #3; Elegy in Stone, #1; Of Youth and Age, #5; Call of the Weird, #2; A Modest Proposal, #4; Get Beyond Babel, #2; Wanderers by Choice, #2; Peace, Technology, and the Role of Ordinary People, #1; Landscape with the Fall of Icarus, #2; Shower at Ohashi Bridge, #2; The Monkey’s Paw, #2; Learning Without Lectures, #1; Is the Pathetic Fallacy True? #4; Fern Hill, #2; The Heroes You Had as a Girl, #1, #2; Musée des Beaux Arts, #1; People on the Bridge, #1; Progress, #4; grammar poem, #3; From The Canterbury Tales, #1, #2; Sonnet 116, #1; The Rime of the Ancient Mariner, #2; Because I Could Not Stop for Death—, #1, #2, #3; Dead Parrot, #1; Invisible Genius, #1

pp. 6–7; 51–57

1.1.2 Experiment with language, image and structure 1.1.2.1 explain how experiments with language, image and structure improve personal craft and increase effectiveness as a text creator

Why I Write, p. 271, #3; The Not-So-Deadly Sin, p. 278, #3; The Rime of the Ancient Mariner, p. 600, #2

A Devoted Son, #3; War, #1; Peace and War, #5; The Death of the Moth, #5; Guy Lafleur, #1; Of Youth and Age, #3, #4; Why I Write, #4; The Not-So-Deadly Sin, #3, #4; Buying Your Next Synthesizer, #1; The Heroes You Had as a Girl, #2; Sonnet 116, #3; A Marriage Proposal, #1

pp. 103–104; 163–174; 181–187

2


Points ELA 30-1 Outcomes 1.1.2.2 use a variety of internal and external resources to explore ideas, observations, opinions, experiences and emotions [for example, stream-of-consciousness writing and open discussion]

Easter at My Aunt’s, p. 118, #1; Peace and War, p. 141, #1; The Spirit of Haida Gwaii, p. 142, #1; Short Fiction Wrap-Up, p. 163, #2, #3; The Death of the Moth, p. 241, #2; Why I Write, p. 271, #3; Call of the Weird, p. 282, #3; Essays, Articles, and Media Wrap-Up, p. 429, #3; Evening, p. 484, #1; Birch Bark, p. 488, #1, #2; The Committee to Upgrade Celestial Signs, p. 502, #1; The Rime of the Ancient Mariner, p. 600, #1; Set Design for The Foreigner, p. 634, #2; Stop! p. 649, #1; Shakespeare: Activities, p. 700, #1

Calgary from Sunnyside, #1; Outside Edges, #1; Twisted Roots, #1; The Shining Houses, #1, #2; The Winner, #2, #3; Easter at My Aunt’s, #2, #4; War, #1; Peace and War, #5; Mazes, #2; From No Great Mischief, #1; Ode to the West Wind, #1; Ka-Ching! #1; Afternoon of an American Boy, #1; A Place to Stand On, #1, #4; Chameleons and Codas, #1; Elegy in Stone, #1, #4; The Death of the Moth, #1, #2, #5; Guy Lafleur, #1, #5; Of Youth and Age, #1; Why I Write, #1, #4; The Not-So-Deadly Sin, #3, #4; Call of the Weird, #1; Get Beyond Babel, #1; The Death of History Is Bunk, #1; Wanderers by Choice, #1; Peace, Technology, and the Role of Ordinary People, #1, #2; Paradise, a Poet, and Promised Land, #1; Buying Your Next Synthesizer, #1; Shower at Ohashi Bridge, #1, #4; The Poetry of Earth and Sky, #1, #2; Morty Mania, #3, #5; almost visible, #1, #2; Let’s Stop Being Hysterical, #1; Evening, #2; Birch Bark, #1; vancouver–courtenay–calgary, #1; Fern Hill, #1; Amiri Baraka, #1; to you who would wage war against me, #3, #4; Progress, #1; Summer Night, #1; The Love Song of J. Alfred Prufrock, #1; Afternoons & Coffeespoons, #1; The River, #1; grammar poem, #1; From Beowulf, #1; From The Canterbury Tales, #1, #2; Sonnet 116, #1; O Can You Leave Your Native Land? #1; Dover Beach, #1; Because I Could Not Stop for Death—, #2; Set Design for The Foreigner, #1; From Acoose: Man Standing Above Ground, #1; Film Location for Random Passage, #2; From Strong Women Prevail in Shakespeare’s Comedies, #1

pp. 54–55; 104–105

1.2 Extend awareness 1.2.1 Consider new perspectives 1.2.1.1 reflect on and describe personal responses to new perspectives; appraise whether such responses contribute to or inhibit personal awareness and understanding, and identify influences that have contributed to such responses; select appropriate strategies to extend awareness and understanding, and monitor their effectiveness; and modify selected strategies as needed

A Devoted Son, p. 86, #1; Short Fiction Wrap-Up, p. 163, #2; Universal Themes and Patterns: Activities, p. 193, #2; Elegy in Stone, p. 235, #1; My Mother’s Blue Bowl, p. 255, #2; A Modest Proposal, p. 293, #1; Hockey Night in Port Hawkesbury, p. 335, #1; The Monkey’s Paw, p. 404, #1; Restoring Life on the Edge, p. 421, #1; Progress, p. 526, #2

Twisted Roots, #2; The Shining Houses, #2; A Devoted Son, #1; The Winner, #2; Windows, #1; Easter at My Aunt’s, #4; From No Great Mischief, #5; From The Archetypes of Literature, #3; Utopian Dreams, #1; Elegy in Stone, #1; A Modest Proposal, #4; Get Beyond Babel, #2; Peace, Technology, and the Role of Ordinary People, #2; Ours by Design, #4; Aphorisms, #1; Fern Hill, #2; People on the Bridge, #1; O Can You Leave Your Native Land? #1, #2; Because I Could Not Stop for Death—, #3; From Acoose: Man Standing Above Ground, #5

pp. 14; 51–57; 213–215; 225–231

3


Points ELA 30-1 Outcomes 1.2.1.2 recognize and assess the strengths and limitations of various perspectives on a theme, issue or topic; and identify aspects for further consideration when exploring and responding to a text

Short Fiction Wrap-Up, p. 163, #2; Of Youth and Age, p. 261, #1; A Modest Proposal, p. 293, #1; Get Beyond Babel, p. 299, #3; Ours by Design, p. 362, #2; The Monkey’s Paw, p. 404, #1, #3; Restoring Life on the Edge, p. 421, #1; Poetry Wrap-Up, p. 611, #2; Shakespeare Activities, p. 700, #1

Calgary from Sunnyside, #5; Twisted Roots, #2, #4; A Devoted Son, #1; The Winner, #2; Easter at My Aunt’s, #4; From No Great Mischief, #5; Ode to the West Wind, #2; Utopian Dreams, #1; Elegy in Stone, #1; My Mother’s Blue Bowl, #3; Migrant Mother, #2; Get Beyond Babel, #2; Ours by Design, #1, #4; The Poetry of Earth and Sky, #2; The Monkey’s Paw, #2; Aphorisms, #1; Effective Persuasion, #3; Evening, #1; vancouver–courtenay–calgary, #1; to you who would wage war against me, #1; The Rime of the Ancient Mariner, #2; O Can You Leave Your Native Land? #2; Because I Could Not Stop for Death—, #3

pp. 14–15; 33–36; 213–218; 219–221

1.2.1.3 analyze and evaluate how various topics and themes, text forms, text types and text creators influence own and others’ understandings, attitudes and aspirations

Short Fiction Wrap-Up, p. 163, #3; Elegy in Stone, p. 235, #1; A Modest Proposal, p. 293, #1; Hockey Night in Port Hawkesbury, p. 335, #1; The Sixth Flight, p. 344, #1; Ours by Design, p. 362, #2; Unzipped, p. 389, #1; Morty Mania, p. 394, #1; Restoring Life on the Edge, p. 421, #1

Calgary from Sunnyside, #5; A Devoted Son, #1; The Winner, #4; Was It a Dream? #5; Ode to the West Wind, #2; The Not-So-Deadly Sin, #1; Ours by Design, #1, #4; The Poetry of Earth and Sky, #1, #2; The Monkey’s Paw, #2; Aphorisms, #1; The Heroes You Had as a Girl, #3; foremother, #5; I, Icarus, #1; Shakespeare in the Cinema, #3

pp. 15–39

1.2.2 Express preferences, and expand interests 1.2.2.1 reflect on and describe personal text preferences, and identify influences that have contributed to the formation of these preferences; identify and describe strategies that may be used to expand interests in texts and text creators; select appropriate strategies to expand such interests, and monitor their effectiveness; modify selected strategies as needed

The Winner, p. 108, #1; Short Fiction Wrap-Up, p. 163, #3; Dead Parrot, p. 654, #1

Calgary from Sunnyside, #2; Easter at My Aunt’s, #1; From No Great Mischief, #5; Portrait of the Essay as a Warm Body, #3; The Not-So-Deadly Sin, #1; The Poetry of Earth and Sky, #5; Evening, #1; Amiri Baraka, #4; I, Icarus, #5; From The Canterbury Tales, #3; Dover Beach, #4; Film Location for Random Passage, #1

pp. 55; 145

1.2.2.2 cultivate appreciation for a variety of genres, texts and text creators

The Winner, p. 108, #1, #3; Short Fiction Wrap-Up, p. 163, #3; Universal Themes and Patterns: Activities, p. 193, #1, #4

Calgary from Sunnyside, #2; Twisted Roots, #5; Windows, #5; The Spirit of Haida Gwaii, #5; Mazes, #1; Was It a Dream? #5; From No Great Mischief, #5; Afternoon of an American Boy, #5; Call of the Weird, #4; The Poetry of Earth and Sky, #5; Engineers’ Corner, #4; Is the Pathetic Fallacy True? #1; Evening, #1; Summer Night, #5; From The Canterbury Tales, #3; O Can You Leave Your Native Land? #5

pp. 121–136; 182–187; 188–189; 221–272

1.2.3 Set personal goals for language growth 1.2.3.1 appraise own strengths and weaknesses as a language user; select appropriate strategies to increase strengths and address weaknesses; monitor the effectiveness of selected strategies; and modify selected strategies as needed to optimize growth as a language user

Mazes, p. 149, #1

Twisted Roots, #4; Magpies, #5; The Spirit of Haida Gwaii, #3; A Modest Proposal, #5; Peace, Technology, and the Role of Ordinary People, #4; Aphorisms, #3; Evening, #4; Sonnet 116, #5; A Marriage Proposal, #5; Shakespeare in the Cinema, #3

pp. 61–62; 273–276; 342–372

1.2.3.2 set goals, and draw from a repertoire of effective strategies for language growth in relation to aspirations for the future [such as post-secondary learning and potential careers]

Mazes, p. 149, #1

Outside Edges, #1; Twisted Roots, #4; Magpies, #5; The Spirit of Haida Gwaii, #3; A Modest Proposal, #5; Peace, Technology, and the Role of Ordinary People, #4; Evening, #4; Sonnet 116, #5

pp. 7–16; 273–325

4


Points ELA 30-1 Outcomes General Outcome 2 – Students will listen, speak, read, write, view and represent to comprehend literature and other texts in oral, print, visual and multimedia forms, and respond personally, critically and creatively. 2.1 Construct meaning from text and context 2.1.1 Discern and analyze content 2.1.1.1 explain the text creator’s purpose, including implicit purpose when applicable, and explain the suitability of the text to the target audience

The Rocking-Horse Winner, p. 35, #3; A Devoted Son, p. 86, #2; Peace and War, p. 141, #2; Short Fiction Wrap-Up, p. 163, #3; Ka-Ching! p. 208, #1, #2; Chameleons and Codas, p. 228, #1; A Modest Proposal, p. 293, #2; Hockey Night in Port Hawkesbury, p. 335, #2; The Humpback of Notre Dame, p. 392, #1; Morty Mania, p. 394, #1; Argument and Persuasion: Activities, p. 475, #2; Engineers’ Corner, p. 480, #2; Fern Hill, p. 497, #1; Afternoons & Coffeespoons, p. 541, #1; The River, p. 544, #1; From The Canterbury Tales, p. 569, #1, #2; Dover Beach, p. 607, #1; A Marriage Proposal, p. 633, #3; From Acoose: Man Standing Above Ground, p. 639, #1; Dead Parrot, p. 654, #3; Shakespeare: Activities, p. 700, #1

Utopian Dreams, #2, #3; Afternoon of an American Boy, #5; Chameleons and Codas, #2, #3; The Death of the Moth, #2; Migrant Mother, #5; Call of the Weird, #2; A Modest Proposal, #5; Get Beyond Babel, #4; The Death of History Is Bunk, #3; Wanderers by Choice, #3; Slide to Entropy, #1; Paradise, a Poet, and Promised Land, #2; The Sixth Flight, #3; Look What I Found, #2; Landscape with the Fall of Icarus, #3; Unzipped, #2, #3; The Humpback of Notre Dame, #1; Restoring Life on the Edge, #2; King Zog’s Birthday, #3; Giant Database Is Ripe for Abuse, #1; Prairie Flight, #2; Amiri Baraka, #3; Musée des Beaux Arts, #4; People on the Bridge, #5; The River, #5; Because I Could Not Stop for Death—, #5; From Acoose: Man Standing Above Ground, #2; Saloonio, #1

pp. 2–3; 64; 204–205; 214; 235; 239–245; 321–322

2.1.1.2 analyze aspects of a text that suggest the nature of the communication situation within which the text has been created [for example, elements that suggest whether a text creator is communicating as an individual or as a representative of a particular group], and analyze the milieu from which the text arose

The Rocking-Horse Winner, p. 35, #2; Magpies, p. 95, #1; Windows, p. 117, #1; Universal Themes and Patterns: Activities, p. 193, #4; Portrait of the Essay as a Warm Body, p. 204, #1; Afternoon of an American Boy, p. 215, #1; Get Beyond Babel, p. 299, #1; Hockey Night in Port Hawkesbury, p. 335, #2; A Chat with Al Purdy, p. 353, #2; Media on Media: Activities, p. 451, #2; Argument and Persuasion: Activities, p. 475, #2; The Heroes You Had as a Girl, p. 506, #1; From Acoose: Man Standing Above Ground, p. 639, #1

Magpies, #2, #3; The Spirit of Haida Gwaii, #1, #5; Was It a Dream? #1; Chameleons and Codas, #2; Migrant Mother, #5; Why I Write, #1; Call of the Weird, #2; A Modest Proposal, #5; Get Beyond Babel, #4; Wanderers by Choice, #3; Peace, Technology, and the Role of Ordinary People, #5; Landscape with the Fall of Icarus, #3; Amiri Baraka, #3; to you who would wage war against me, #2; Musée des Beaux Arts, #5; People on the Bridge, #5; Summer Night, #5; The River, #5; Mu-lan, #3; From Acoose: Man Standing Above Ground, #5

pp. 46–47; 124; 260–264

2.1.1.3 assess and explain the interplay between a text and its context, and appreciate the effects of this interplay [for example, the effects of societal and historical forces on the perspectives presented by a text creator and the style, vocabulary and idiom chosen]

Magpies, p. 95, #1; Universal Themes and Patterns: Activities, p. 193, #4; Afternoon of an American Boy, p. 215, #1; A Place to Stand On, p. 223, #3; Elegy in Stone, p. 235, #2; Get Beyond Babel, p. 299, #1; Hockey Night in Port Hawkesbury, p. 335, #2; The Sixth Flight, p. 344, #3; A Chat with Al Purdy, p. 353, #2; Media on Media: Activities, p. 451, #2; Musée des Beaux Arts, p. 520, #1; From Beowulf, p. 559, #1; O Can You Leave Your Native Land? p. 603, #2; A Marriage Proposal, p. 633, #3; Dead Parrot, p. 654, #3; Shakespeare: Activities, p. 700, #1

Magpies, #2, #3, #5; The Spirit of Haida Gwaii, #1, #5; Was It a Dream? #1; The Hero’s Adventure, #2; Ode to the West Wind, #3; Araby from Dubliners, #3; Utopian Dreams, #2; Portrait of the Essay as a Warm Body, #5; Migrant Mother, #5; Of Youth and Age, #1; Why I Write, #1; Call of the Weird, #2; A Modest Proposal, #5; Get Beyond Babel, #4; Wanderers by Choice, #3; Peace, Technology, and the Role of Ordinary People, #5; Landscape with the Fall of Icarus, #3; Unzipped, #2; Engineers’ Corner, #2; The Committee to Upgrade Celestial Signs, #3; foremother, #5; Musée des Beaux Arts, #4, #5; Progress, #4; Summer Night, #5; The River, #4, #5; grammar poem, #3; Mu-lan, #2; From The Canterbury Tales, #3; O Can You Leave Your Native Land? #4; Dover Beach, #4, #5; From Acoose: Man Standing Above Ground, #2; Stop! #2

pp. 46–47; 124; 260–264

5


Points ELA 30-1 Outcomes 2.1.2 Understand and interpret content 2.1.2.1 experiment with a variety of appropriate comprehension strategies [such as reading passages out loud, forming questions, making predictions, using context to determine the connotative meanings of words, using graphic organizers and making annotations]

Ka-Ching! p. 208, #1; Guy Lafleur, p. 250, #2; Of Youth and Age, p. 261, #1; Why I Write, p. 271, #1; Paradise, a Poet, and Promised Land, p. 330, #1; Look What I Found, p. 364, #1; Media on Media: Activities, p. 451, #3; Is the Pathetic Fallacy True? p. 483, #1; Fern Hill, p. 497, #2; The Committee to Upgrade Celestial Signs, p. 502, #1; People on the Bridge, p. 523, #1; grammar poem, p. 547, #1; The Rime of the Ancient Mariner, p. 600, #1

The Rocking-Horse Winner, #1; Magpies, #1; Easter at My Aunt’s, #2; Peace and War, #1; Mazes, #2, #3; From The Archetypes of Literature, #1; Ka-Ching! #2; My Mother’s Blue Bowl, #2; Get Beyond Babel, #1; Wanderers by Choice, #2; The Sixth Flight, #1; Buying Your Next Synthesizer, #5; The Monkey’s Paw, #3; almost visible, #1; Poetry, #1; Evening, #2; Fern Hill, #2; The Committee to Upgrade Celestial Signs, #1; The Heroes You Had as a Girl, #2; Musée des Beaux Arts, #3; From The Canterbury Tales, #2; Sonnet 116, #2, #3; A Poison Tree, #3; The Rime of the Ancient Mariner, #2; O Can You Leave Your Native Land? #2; Dover Beach, #2; Because I Could Not Stop for Death—, #2; Set Design for The Foreigner, #2; Shakespeare in the Cinema, #2; Saloonio, #1

pp. 15–40; 50–51

2.1.2.2 select appropriate comprehension strategies from a broad repertoire of developed strategies

Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #2

The Shining Houses, #2; Peace and War, #1; Mazes, #3; From The Archetypes of Literature, #1; Wanderers by Choice, #2; Buying Your Next Synthesizer, #5; The Monkey’s Paw, #1; Sonnet 116, #2; Set Design for The Foreigner, #2; From Hamlet, #1; Shakespeare in the Cinema, #1

pp. 15–40

2.1.2.3 explain how controlling ideas, supporting ideas and supporting details are related in a broad variety of texts

Write Me Sometime, p. 45, #1; Outside Edges, p. 58, #1; The Shining Houses, p. 73, #1; A Devoted Son, p. 86, #2; Magpies, p. 95, #1; Short Fiction Wrap-Up, p. 163, #1; Universal Themes and Patterns: Activities, p. 193, #1, #2; Ka-Ching! p. 208, #1; A Place to Stand On, p. 223, #2, #3; Why I Write, p. 271, #2; The Not-So-Deadly Sin, p. 278, #2; A Modest Proposal, p. 293, #1; Get Beyond Babel, p. 299, #2; Slide to Entropy, p. 326, #2, #3; Hockey Night in Port Hawkesbury, p. 335, #1; Buying Your Next Synthesizer, p. 348, #2; A Chat with Al Purdy, p. 353, #1; Ours by Design, p. 362, #1; Landscape with the Fall of Icarus, p. 366, #1; The Humpback of Notre Dame, p. 392, #1; Argument and Persuasion: Activities, p. 475, #2; Is the Pathetic Fallacy True? p. 483, #1; I, Icarus, p. 517, #1; People on the Bridge, p. 523, #1; From The Canterbury Tales, p. 569, #1; Sonnet 116, p. 571, #1; O Can You Leave Your Native Land? p. 603, #1; Dover Beach, p. 607, #1; Film Location for Random Passage, p. 640, #1

From The Archetypes of Literature, #2; Ka-Ching! #2, #4; A Place to Stand On, #2; The Death of the Moth, #3; Guy Lafleur, #2; My Mother’s Blue Bowl, #3; Migrant Mother, #4; A Modest Proposal, #3; Peace, Technology, and the Role of Ordinary People, #2, #4; Slide to Entropy, #2; Paradise, a Poet, and Promised Land, #1; Buying Your Next Synthesizer, #1; A Chat with Al Purdy, #3; Unzipped, #4; Morty Mania, #1; The Monkey’s Paw, #1, #3; Restoring Life on the Edge, #3, #4; Effective Persuasion, #1; Giant Database Is Ripe for Abuse, #1; Our Water Sovereignty Is at Risk, #1; From Water, #1; Poetry, #1, #3; Birch Bark, #2; vancouver–courtenay–calgary, #2; Prairie Flight, #1; Fern Hill, #2; Musée des Beaux Arts, #2; The Love Song of J. Alfred Prufrock, #2; Afternoons & Coffeespoons, #1, #2; The River, #2; From Beowulf, #2; From The Canterbury Tales, #2; The Rime of the Ancient Mariner, #2; Dover Beach, #2; Because I Could Not Stop for Death—, #3; From Acoose: Man Standing Above Ground, #2; From Hamlet, #2; Saloonio, #1

pp. 28–29; 33–36; 57

2.1.2.4 assess the contributions of setting, plot, character and atmosphere to the development of theme when studying a narrative

The Rocking-Horse Winner, p. 35, #2; Write Me Sometime, p. 45, #3; Outside Edges, p. 58, #1; The Shining Houses, p. 73, #2; Short Fiction Wrap-Up, p. 163, #3; Ka-Ching! p. 208, #1; Drama Wrap-Up, p. 655, #3; Shakespeare: Activities, p. 700, #2

A Devoted Son, #3; War, #2; From Beowulf, #4; Because I Could Not Stop for Death—, #3

pp. 111; 139–150; 192–194

6


Points ELA 30-1 Outcomes 2.1.2.5 analyze and explain the personality traits, roles, relationships, motivations, attitudes and values of characters developed/persons presented in literature and other texts

The Rocking-Horse Winner, p. 34, #1; Write Me Sometime, p. 45, #1; Outside Edges, p. 58, #1; The Shining Houses, p. 73, #2; Magpies, p. 95, #2; War, p. 136, #1; Mazes, p. 149, #2; Short Fiction Wrap-Up, p. 163, #3, #4; The Death of History Is Bunk, p. 305, #1; A Chat with Al Purdy, p. 353, #1; Unzipped, p. 389, #2; to you who would wage war against me, p. 514, #1; The Love Song of J. Alfred Prufrock, p. 538, #1; From Beowulf, p. 559, #1; A Marriage Proposal, p. 633, #2; Stop! p. 649, #2; Drama Wrap-Up, p. 655, #2

The Shining Houses, #2, #3; A Devoted Son, #4; The Winner, #3; Windows, #4; War, #2; Peace and War, #4; Was It a Dream? #4, #5; Ka-Ching! #4; A Place to Stand On, #2; Chameleons and Codas, #3; Elegy in Stone, #5; The Not-So-Deadly Sin, #2; A Modest Proposal, #3; The Sixth Flight, #2; Ours by Design, #3; foremother, #2; The Shakespearean Tragic Hero, #2; From Strong Women Prevail in Shakespeare’s Comedies, #3

pp. 111; 138; 146–148; 193–194

2.1.2.6 explain how archetypal qualities of characters contribute to the development of other textual elements [such as theme]

Magpies, p. 95, #1; Landscape with the Fall of Icarus, p. 366, #1; From The Canterbury Tales, p. 569, #2

The Spirit of Haida Gwaii, #5; Was It a Dream? #5; Get Beyond Babel, #4; Mu-lan, #2; From Beowulf, #4; The Shakespearean Tragic Hero, #2

pp. 138; 146–148; 193–194

2.1.2.7 relate a text creator’s tone and register to the moral and ethical stance explicitly or implicitly communicated by a text, when appropriate

The Shining Houses, p. 73, #2; A Devoted Son, p. 86, #2; Mazes, p. 149, #2; Short Fiction Wrap-Up, p. 163, #3; A Modest Proposal, p. 293, #2; Slide to Entropy, p. 326, #2; Argument and Persuasion: Activities, p. 475, #2; Engineers’ Corner, p. 480, #1

Peace and War, #2; The Spirit of Haida Gwaii, #5; Chameleons and Codas, #3, #4; Migrant Mother, #2, #5; Why I Write, #1; Call of the Weird, #3; A Modest Proposal, #2, #3; Slide to Entropy, #2; Giant Database Is Ripe for Abuse, #2; Let’s Stop Being Hysterical, #2

pp. 139; 157–158; 163

2.1.2.8 assess the contributions of figurative language, symbol and allusion to the meaning and significance of texts

The Rocking-Horse Winner, p. 35, #2; Short Fiction Wrap-Up, p. 163, #3; Universal Themes and Patterns: Activities, p. 193, #2; Portrait of the Essay as a Warm Body, p. 204, #1; Chameleons and Codas, p. 228, #2; Of Youth and Age, p. 262, #3; Call of the Weird, p. 282, #1; Is the Pathetic Fallacy True? p. 483, #2; Birch Bark, p. 488, #2; I, Icarus, p. 517, #2; Musée des Beaux Arts, p. 520, #2; The Love Song of J. Alfred Prufrock, p. 538, #2; Afternoons & Coffeespoons, p. 541, #1; grammar poem, p. 547, #2; From The Canterbury Tales, p. 569, #1; Poetry Wrap-Up, p. 611, #2

A Devoted Son, #2; War, #3; Araby from Dubliners, #2; The Death of the Moth, #4; Guy Lafleur, #3; Why I Write, #3; The Not-So-Deadly Sin, #2; Get Beyond Babel, #1; Slide to Entropy, #3; King Zog’s Birthday, #1; Prairie Flight, #3; Fern Hill, #5; Progress, #2; The Love Song of J. Alfred Prufrock, #3; The River, #2; A Poison Tree, #2; The Rime of the Ancient Mariner, #3; Because I Could Not Stop for Death—, #3

pp. 112; 129; 136–137; 163–168; 249

2.1.2.9 assess the contribution of imagery to the meaning and significance of texts

The Rocking-Horse Winner, p. 35, #2; Write Me Sometime, p. 45, #1; Peace and War, p. 141, #3; Short Fiction Wrap-Up, p. 163, #3; Universal Themes and Patterns: Activities, p. 193, #2; Paradise, a Poet, and Promised Land, p. 330, #1; Birch Bark, p. 488, #2; Fern Hill, p. 497, #2; I, Icarus, p. 517, #1; Summer Night, p. 529, #1; O Can You Leave Your Native Land? p. 603, #1; Poetry Wrap-Up, p. 611, #2

A Devoted Son, #3; Windows, #3; From No Great Mischief, #3; Araby from Dubliners, #2; The Death of the Moth, #4; Why I Write, #3; The Not-So-Deadly Sin, #2; Is the Pathetic Fallacy True? #2, #3; Birch Bark, #4; Fern Hill, #5; Progress, #3; Afternoons & Coffeespoons, #3; From Beowulf, #4; A Poison Tree, #2; The Rime of the Ancient Mariner, #3; Dover Beach, #2

pp. 36–39; 163–166; 169; 171–173

2.1.2.10 assess the contributions that visual and aural elements make to the meaning of texts

Twisted Roots, p. 60, #2; The Spirit of Haida Gwaii, p. 142, #2; Universal Themes and Patterns: Activities, p. 193, #3; Migrant Mother, p. 256, #2; The Sixth Flight, p. 344, #2; Landscape with the Fall of Icarus, p. 366, #2; Shower at Ohashi Bridge, p. 368, #1; The Poetry of Earth and Sky, p. 370, #2; Canada: A Virtual History, p. 380, #1, #2; The Humpback of Notre Dame, p. 392, #1, #2; Argument and Persuasion: Activities, p. 475, #2; Summer Night, p. 529, #2; Poetry Wrap-Up, p. 611, #2; Dead Parrot, p. 654, #2; Shakespeare: Activities, p. 700, #2

Twisted Roots, #3; Easter at My Aunt’s, #3; Migrant Mother, #5; A Chat with Al Purdy, #2; Look What I Found, #1, #2; Landscape with the Fall of Icarus, #4; Shower at Ohashi Bridge, #1, #4, #5; Canada: A Virtual History, #4, #5; The Humpback of Notre Dame, #3, #5; Morty Mania, #1; Is the Pathetic Fallacy True? #4; Evening, #4; Amiri Baraka, #2; The Heroes You Had as a Girl, #2; The River, #3; Mu-lan, #4; Film Location for Random Passage, #1

pp. 36–39; 176–183; 239–250; 255–268; 323

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Points ELA 30-1 Outcomes 2.1.2.11 assess the relationship between the content of a presentation and the performance of the presenter, and explain how the quality of the performance affects the credibility and audience acceptance of the content and message

The Heroes You Had as a Girl, p. 506, #2; Dead Parrot, p. 654, #2

Unzipped, #4; Evening, #5; The Committee to Upgrade Celestial Signs, #5; People on the Bridge, #5; Sonnet 116, #5; A Poison Tree, #4

pp. 4; 321–325

2.1.3 Engage prior knowledge 2.1.3.1 reflect on and describe strategies used to engage prior knowledge as a means of assisting comprehension of new text; select appropriate strategies to engage prior knowledge, and monitor their effectiveness; and modify selected strategies as needed

Short Fiction Wrap-Up, p. 163, #3; Media on Media: Activities, p. 451, #3, #4; People on the Bridge, p. 523, #1; A Poison Tree, p. 572, #1

Magpies, #1; From No Great Mischief, #2; The Sixth Flight, #1; Unzipped, #1; The Humpback of Notre Dame, #1; Birch Bark, #1

pp. 18–19; 21

2.1.3.2 assess the contribution of prior knowledge of contexts, content and text forms to new understandings

The Death of the Moth, p. 241, #1; My Mother’s Blue Bowl, p. 255, #1; Migrant Mother, p. 256, #1; The Humpback of Notre Dame, p. 392, #1; Media on Media: Activities, p. 451, #3, #4; Musée des Beaux Arts, p. 520, #1; People on the Bridge, p. 523, #1; A Poison Tree, p. 572, #1; Shakespeare: Activities, p. 700, #1

Magpies, #1, #3; Peace and War, #1; Was It a Dream? #5; Prairie Flight, #5; foremother, #1; The Rime of the Ancient Mariner, #1

pp. 18–19

2.1.3.3 relate prior understandings of rhetorical devices used in previously studied texts and of textual elements and structures developed to understandings of rhetorical devices used and textual elements and structures employed or developed in new texts

Short Fiction Wrap-Up, p. 163, #3; The Death of History Is Bunk, p. 305, #2; Slide to Entropy, p. 326, #2; Morty Mania, p. 394, #1; People on the Bridge, p. 523, #1; A Poison Tree, p. 572, #1

The Spirit of Haida Gwaii, #1; Was It a Dream? #5; Portrait of the Essay as a Warm Body, #1; Afternoon of an American Boy, #2; A Modest Proposal, #1; A Chat with Al Purdy, #2; The Humpback of Notre Dame, #1; Poetry, #3; Prairie Flight, #5; From The Canterbury Tales, #5; A Poison Tree, #1; The Rime of the Ancient Mariner, #1; Set Design for The Foreigner, #2; Shakespeare in the Cinema, #1; From Strong Women Prevail in Shakespeare’s Comedies, #1

pp. 113–116; 139–142

2.1.3.4 classify the genre of new texts according to attributes of genres previously studied

Was It a Dream? p. 154, Another Viewpoint Windows, #5; Was It a Dream? #5; Utopian Dreams, #3; Portrait of the Essay as a Warm Body, #1; The Sixth Flight, #2; The Humpback of Notre Dame, #1; Poetry, #3; Engineers’ Corner, #4; From The Canterbury Tales, #5; From Strong Women Prevail in Shakespeare’s Comedies, #1

pp. 49; 112; 182–187; 256–266

2.1.4 Use reference strategies and reference technologies 2.1.4.1 identify and use a variety of appropriate reference strategies [such as formulating and refining questions, and exploring works cited in other references] and reference technologies [such as library catalogues and Internet search engines] to aid understanding

Magpies, p. 95, #2; Short Fiction Wrap-Up, p. 163, #3; Universal Themes and Patterns: Activities, p. 193, #1, #3, #4; Chameleons and Codas, p. 228, #3; Get Beyond Babel, p. 299, #3; Restoring Life on the Edge, p. 421, #2; I, Icarus, p. 517, #2; People on the Bridge, p. 523, #2; From Beowulf, p. 559, #2; Poetry Wrap-Up, p. 611, #2; Drama Wrap-Up, p. 655, #1

The Spirit of Haida Gwaii, #5; Mazes, #1; Portrait of the Essay as a Warm Body, #5; Why I Write, #5; Look What I Found, #5; Landscape with the Fall of Icarus, #1, #3; Unzipped, #1; The Monkey’s Paw, #1; Restoring Life on the Edge, #4; Giant Database Is Ripe for Abuse, #3; Our Water Sovereignty Is at Risk, #2; From Water, #3; vancouver–courtenay–calgary, #5; Amiri Baraka, #3; The River, #5; From Beowulf, #3; A Poison Tree, #4; Film Location for Random Passage, #3; The Shakespearean Tragic Hero, #3

pp. 9–14; 60–61; 75–76; 88–91; 309–310

2.1.4.2 create and use own reference materials [such as a personalized dictionary/glossary and a personalized URL address list] to aid understanding

Poetry Wrap-Up, p. 611, #4 The Monkey’s Paw, #3; Restoring Life on the Edge, #3; From Beowulf, #3; The Shakespearean Tragic Hero, #3

pp. 46; 317

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Points ELA 30-1 Outcomes 2.2 Understand and appreciate textual forms, elements and techniques 2.2.1 Relate form, structure and medium to purpose, audience and content 2.2.1.1 analyze a variety of text forms, explain the relationships of form to purpose and content, and assess the effects of these relationships on audience

Twisted Roots, p. 60, #2; Easter at My Aunt’s, p. 118, #2; War, p. 137, #2, #3; Universal Themes and Patterns: Activities, p. 193, #3; Of Youth and Age, p. 262, #2; Why I Write, p. 271, #1; The Not-So-Deadly Sin, p. 278, #1; The Sixth Flight, p. 344, #2; Buying Your Next Synthesizer, p. 348, #2; Media on Media: Activities, p. 451, #2; Argument and Persuasion: Activities, p. 475, #2; Prairie Flight, p. 493, #1; foremother, p. 510, #2; People on the Bridge, p. 523, #2; Progress, p. 526, #2; Summer Night, p. 529, #1, #2; From Beowulf, p. 559, #2; A Poison Tree, p. 572, #2; The Rime of the Ancient Mariner, p. 600, #2; Dover Beach, p. 607, #2; Drama Wrap-Up, p. 655, #4

Magpies, #3; Windows, #2; Portrait of the Essay as a Warm Body, #1, #4; Elegy in Stone, #2, #3; My Mother’s Blue Bowl, #2; The Sixth Flight, #3; Buying Your Next Synthesizer, #4; Canada: A Virtual History, #4; Unzipped, #2, #5; The Humpback of Notre Dame, #1, #4; Morty Mania, #3; The News, #1; King Zog’s Birthday, #3; Poetry, #2; foremother, #3; Progress, #4; grammar poem, #3; Mu-lan, #5; Sonnet 116, #2; The Rime of the Ancient Mariner, #4; From Acoose: Man Standing Above Ground, #4; From Hamlet, #2

pp. 33–35; 50; 204–205; 214; 300–301; 303–307

2.2.1.2 assess the potential influence of various audience factors on a text creator’s choice of form and medium

War, p. 137, #2; Guy Lafleur, p. 250, #3; Media on Media: Activities, p. 451, #2; Argument and Persuasion: Activities, p. 475, #2; From Beowulf, p. 559, #2; A Marriage Proposal, p. 633, #3

Magpies, #3; From The Archetypes of Literature, #1; Afternoon of an American Boy, #5; My Mother’s Blue Bowl, #2; The Death of History Is Bunk, #3; The Sixth Flight, #3; Unzipped, #2; The Humpback of Notre Dame, #1, #5; Morty Mania, #3, #5; The News, #1; King Zog’s Birthday, #3; From Acoose: Man Standing Above Ground, #4

pp. 201–204; 214; 241–258; 321–322

2.2.1.3 apply knowledge of a variety of organizational patterns and structural features to understand purpose and to confirm meaning of content

Mazes, p. 149, #2; A Place to Stand On, p. 223, #2; The Death of the Moth, p. 241, #2; Guy Lafleur, p. 250, #2; Of Youth and Age, p. 262, #2; A Modest Proposal, p. 293, #2; Media on Media: Activities, p. 451, #2; Argument and Persuasion: Activities, p. 475, #2; Mu-lan, p. 552, #2; From Acoose: Man Standing Above Ground, p. 639, #2

Windows, #2; From The Archetypes of Literature, #2; Portrait of the Essay as a Warm Body, #2; My Mother’s Blue Bowl, #2; Peace, Technology, and the Role of Ordinary People, #3; Paradise, a Poet, and Promised Land, #3; Poetry, #2; Birch Bark, #2, #3; The Committee to Upgrade Celestial Signs, #2; foremother, #3; I, Icarus, #3; grammar poem, #4

pp. 33–35; 65–72; 182–187

2.2.1.4 assess the effectiveness of a text’s organizational structure

The Winner, p. 108, #2; War, p. 137, #3; A Place to Stand On, p. 223, #2; The Death of the Moth, p. 241, #2; Guy Lafleur, p. 250, #2; Why I Write, p. 271, #2; A Modest Proposal, p. 293, #2; Get Beyond Babel, p. 299, #2; Argument and Persuasion: Activities, p. 475, #2; From Acoose: Man Standing Above Ground, p. 639, #2

Windows, #2; Portrait of the Essay as a Warm Body, #2, #4; Elegy in Stone, #2, #3; Peace, Technology, and the Role of Ordinary People, #3; Paradise, a Poet, and Promised Land, #3; Birch Bark, #3; I, Icarus, #3; grammar poem, #4; The Rime of the Ancient Mariner, #4

pp. 65–72

2.2.1.5 assess the medium of a presentation [such as the use of unamplified voice, printed handouts and computer-generated slides] in terms of its appropriateness to purpose and content and its effect on audience

Argument and Persuasion: Activities, p. 475, #2

A Place to Stand On, #4; The Humpback of Notre Dame, #1, #4; The News, #1; People on the Bridge, #5

pp. 213–215; 222–224; 233–235; 242–244; 248; 255; 260

2.2.2 Relate elements, devices and techniques to created effects 2.2.2.1 assess the contributions of rhetorical devices and stylistic techniques to the clarity and coherence of print and nonprint texts, and assess the various means by which devices and techniques are used to emphasize aspects or portions of a text

Twisted Roots, p. 60, #2; Universal Themes and Patterns: Activities, p. 193, #3; Portrait of the Essay as a Warm Body, p. 204, #2; Get Beyond Babel, p. 299, #2; The Death of History Is Bunk, p. 305, #2; Wanderers by Choice, p. 312, #2; Peace, Technology, and the Role of Ordinary People, p. 322, #2; Slide to Entropy, p. 326, #2; Canada: A Virtual History, p. 380, #2; The Humpback of Notre Dame, p. 392, #2; Argument and Persuasion: Activities, p. 475, #2

The Rocking-Horse Winner, #4; Twisted Roots, #3; Peace and War, #3; Was It a Dream? #3; Ode to the West Wind, #2; Portrait of the Essay as a Warm Body, #4; Guy Lafleur, #4; My Mother’s Blue Bowl, #2; Why I Write, #3; A Modest Proposal, #2; The Death of History Is Bunk, #2; Buying Your Next Synthesizer, #2; Look What I Found, #1; The Monkey’s Paw, #4; Learning Without Lectures, #2; Let’s Stop Being Hysterical, #2; From Water, #2; Poetry, #2; vancouver–courtenay–calgary, #3; Prairie Flight, #4; I, Icarus, #2

pp. 60–63; 326–330; 349–372

9


Points ELA 30-1 Outcomes 2.2.2.2 assess the contributions of textual elements and stylistic techniques to the creation of atmosphere, tone and voice

Write Me Sometime, p. 45, #2; Twisted Roots, p. 60, #2; A Devoted Son, p. 86, #2, #3; Windows, p. 117, #3; War, p. 137, #2; From No Great Mischief, p. 161, #1, #2; Short Fiction Wrap-Up, p. 163, #3; Universal Themes and Patterns: Activities, p. 193, #3; Portrait of the Essay as a Warm Body, p. 204, #2; Ka-Ching! p. 208, #2; The Death of the Moth, p. 241, #3; My Mother’s Blue Bowl, p. 255, #2; Why I Write, p. 271, #2; The Death of History Is Bunk, p. 305, #2; Slide to Entropy, p. 326, #1; Paradise, a Poet, and Promised Land, p. 330, #2; The Sixth Flight, p. 344, #2; Argument and Persuasion: Activities, p. 475, #2; Evening, p. 484, #2; vancouver–courtenay–calgary, p. 491, #2; The Committee to Upgrade Celestial Signs, p. 502, #2; People on the Bridge, p. 523, #2; Summer Night, p. 529, #1; The Love Song of J. Alfred Prufrock, p. 538, #2; Mu-lan, p. 552, #1; Sonnet 116, p. 571, #2; Because I Could Not Stop for Death—, p. 610, #2; Poetry Wrap-Up, p. 611, #2; Stop! p. 649, #2

The Rocking-Horse Winner, #1; Write Me Sometime, #2; Outside Edges, #3; Windows, #3; Peace and War, #3; Was It a Dream? #3; From No Great Mischief, #3, #4; Portrait of the Essay as a Warm Body, #4; Ka-Ching! #3, #4; Afternoon of an American Boy, #1; Chameleons and Codas, #4; Elegy in Stone, #2; The Death of the Moth, #2, #3; The Not-So-Deadly Sin, #2; Call of the Weird, #3; A Modest Proposal, #2, #3; The Death of History Is Bunk, #2; Wanderers by Choice, #4; Slide to Entropy, #5; Hockey Night in Port Hawkesbury, #1; The Sixth Flight, #4; Buying Your Next Synthesizer, #3; Unzipped, #3; Restoring Life on the Edge, #3; Learning Without Lectures, #2; Giant Database Is Ripe for Abuse, #2; Let’s Stop Being Hysterical, #2; Engineers’ Corner, #3; vancouver–courtenay–calgary, #3, #4; Prairie Flight, #4; Fern Hill, #3, #4; I, Icarus, #4; People on the Bridge, #3; Summer Night, #2; From Beowulf, #3, #4; A Poison Tree, #3; The Rime of the Ancient Mariner, #3; Dover Beach, #2, #3; A Marriage Proposal, #2; From Acoose: Man Standing Above Ground, #3; Invisible Genius, #2

pp. 139; 157–159; 163; 170–171

2.2.2.3 assess the effects created by irony in a variety of print and nonprint texts

Write Me Sometime, p. 45, #2; A Devoted Son, p. 86, #2; Mazes, p. 149, #2; Ka-Ching! p. 208, #2; Call of the Weird, p. 282, #2; Engineers’ Corner, p. 480, #2; The Love Song of J. Alfred Prufrock, p. 538, #2

Easter at My Aunt’s, #3; Peace and War, #2, #3; Ka-Ching! #3; Elegy in Stone, #2; A Modest Proposal, #1; Hockey Night in Port Hawkesbury, #1

pp. 158–160; 249–250

2.2.2.4 identify and assess devices and techniques used to create satire [such as irony, exaggeration and caricature]

The Rocking-Horse Winner, p. 35, #2; Ka-Ching! p. 208, #2; A Modest Proposal, p. 293, #1

Afternoon of an American Boy, #1; A Modest Proposal, #1, #2, #5; Slide to Entropy, #2

pp. 158–160; 204; 249–250

2.2.2.5 assess the use of musical devices and figures of speech to create effects in a variety of print and nonprint texts

A Devoted Son, p. 86, #3; Short Fiction Wrap-Up, p. 163, #2; The Humpback of Notre Dame, p. 392, #2; Is the Pathetic Fallacy True? p. 483, #2; Birch Bark, p. 488, #2; The Committee to Upgrade Celestial Signs, p. 502, #2; Summer Night, p. 529, #2; Afternoons & Coffeespoons, p. 541, #2; Poetry Wrap-Up, p. 611, #2

Calgary from Sunnyside, #3; Guy Lafleur, #3; The Not-So-Deadly Sin, #2; Prairie Flight, #3; Progress, #2; From Beowulf, #3; The Rime of the Ancient Mariner, #3; O Can You Leave Your Native Land? #3

pp. 112; 176–182

2.2.2.6 explain how sensory details create imagery in print and nonprint texts; and describe how imagery, in turn, creates audience effects [such as humour and pathos]

The Rocking-Horse Winner, p. 35, #2; Twisted Roots, p. 60, #1, #2; A Devoted Son, p. 86, #3; Easter at My Aunt’s, p. 118, #2; Peace and War, p. 141, #3; From No Great Mischief, p. 161, #1; Paradise, a Poet, and Promised Land, p. 330, #1, #2; The Humpback of Notre Dame, p. 392, #2; Morty Mania, p. 394, #1; Birch Bark, p. 488, #2; foremother, p. 510, #2; to you who would wage war against me, p. 514, #2; Summer Night, p. 529, #1; Poetry Wrap-Up, p. 611, #2

Outside Edges, #3; The Shining Houses, #4; A Devoted Son, #3; Windows, #3; Easter at My Aunt’s, #3; From No Great Mischief, #3; Ode to the West Wind, #2; A Place to Stand On, #4; The Death of the Moth, #4; The Not-So-Deadly Sin, #2; A Modest Proposal, #2; Fern Hill, #4; The Heroes You Had as a Girl, #2; Progress, #3; Afternoons & Coffeespoons, #3; Mu-lan, #4; From Beowulf, #3; The Rime of the Ancient Mariner, #3; Dover Beach, #2, #3; A Marriage Proposal, #2

pp. 112; 163–166; 169; 171–172

2.2.2.7 explain the contribution of motif and symbol to controlling idea and theme

The Rocking-Horse Winner, p. 35, #2; Write Me Sometime, p. 45, #2; Windows, p. 117, #2; From No Great Mischief, p. 161, #1; Short Fiction Wrap-Up, p. 163, #2; Universal Themes and Patterns: Activities, p. 193, #2; Poetry Wrap-Up, p. 611, #2

Outside Edges, #3; A Devoted Son, #2; War, #3; Araby from Dubliners, #2; The Death of the Moth, #4; The River, #2; A Poison Tree, #2

pp. 139; 166–168

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Points ELA 30-1 Outcomes 2.2.2.8 analyze the various elements of effective presentation, and assess the effects created

The Sixth Flight, p. 344, #2; The Humpback of Notre Dame, p. 392, #2; The Heroes You Had as a Girl, p. 506, #2; Poetry Wrap-Up, p. 611, #2; Drama Wrap-Up, p. 655, #2

Unzipped, #5; Shakespeare in the Cinema, #3

pp. 7–8; 321–324; 326–330

2.2.2.9 assess the use of persuasive techniques and their effects on audience [for example, assess the use of commercial endorsements and negative advertisement campaigns, which may convince or offend]

Why I Write, p. 271, #2; Get Beyond Babel, p. 299, #2; The Death of History Is Bunk, p. 305, #2; Peace, Technology, and the Role of Ordinary People, p. 322, #2; Slide to Entropy, p. 326, #2; Morty Mania, p. 394, #1, #2; Argument and Persuasion: Activities, p. 475, #2

Portrait of the Essay as a Warm Body, #4; A Modest Proposal, #2; Slide to Entropy, #5; Ours by Design, #4; Unzipped, #5; The Humpback of Notre Dame, #2; Morty Mania, #2; Effective Persuasion, #1, #3; Giant Database Is Ripe for Abuse, #2; Let’s Stop Being Hysterical, #2, #3; From Water, #1, #2

pp. 36–39; 67; 215; 235–238; 242–244; 286–295; 306–307

2.3 Respond to a variety of print and nonprint texts 2.3.1 Connect self, text, culture and milieu 2.3.1.1 identify and consider personal moral and ethical perspectives, as well as cultural perspectives, when studying literature and other texts; and reflect on and monitor how perspectives change as a result of interpretation and discussion

Windows, p. 117, #1; Mazes, p. 149, #1; Was It a Dream? p. 153, #2; Guy Lafleur, p. 250, #1; Get Beyond Babel, p. 299, #1; Media on Media: Activities, p. 451, #3

The Rocking-Horse Winner, #3; Was It a Dream? #2; Migrant Mother, #1; Paradise, a Poet, and Promised Land, #1; Ours by Design, #4; The Monkey’s Paw, #1, #2; Effective Persuasion, #3; Summer Night, #5; Stop! #2

pp. 51–57; 124–127; 135–136; 215; 271–272

2.3.1.2 form positions on issues that arise from text study

Mazes, p. 149, #1; Was It a Dream? p. 153, #2; Guy Lafleur, p. 250, #1; Why I Write, p. 271, #1; Wanderers by Choice, p. 312, #1; Peace, Technology, and the Role of Ordinary People, p. 321, #1; Media on Media: Activities, p. 451, #3; to you who would wage war against me, p. 514, #2

The Rocking-Horse Winner, #3; A Devoted Son, #1; Was It a Dream? #2; The Hero’s Adventure, #1; Migrant Mother, #1; A Modest Proposal, #3; Wanderers by Choice, #2; Slide to Entropy, #2; Ours by Design, #4; Morty Mania, #4, #5; The Monkey’s Paw, #2; Aphorisms, #2; Effective Persuasion, #3

pp. 6–7; 51–57; 73–76

2.3.1.3 assess the ideas, information, arguments, emotions, experiences, values and beliefs expressed in works of literature and other texts in light of issues that are personally meaningful and culturally significant

The Rocking-Horse Winner, p. 34, #1; A Devoted Son, p. 86, #1; Windows, p. 117, #1; Mazes, p. 149, #1; Was It a Dream? p. 153, #2; Universal Themes and Patterns: Activities, p. 193, #2; A Place to Stand On, p. 222, #1; Elegy in Stone, p. 235, #1; The Death of the Moth, p. 241, #1; Guy Lafleur, p. 250, #1; My Mother’s Blue Bowl, p. 255, #1; Why I Write, p. 271, #1; Get Beyond Babel, p. 299, #1; Wanderers by Choice, p. 312, #1; Peace, Technology, and the Role of Ordinary People, p. 321, #1; Landscape with the Fall of Icarus, p. 366, #1, #2; Media on Media: Activities, p. 451, #2; Engineers’ Corner, p. 480, #1; Fern Hill, p. 497, #1; Dover Beach, p. 607, #1

The Rocking-Horse Winner, #3; Magpies, #2; Was It a Dream? #1, #2; Ka-Ching! #2; A Place to Stand On, #3; My Mother’s Blue Bowl, #1; Of Youth and Age, #2; Why I Write, #2; A Modest Proposal, #3, #5; The Death of History Is Bunk, #4; Wanderers by Choice, #2; Slide to Entropy, #5; Hockey Night in Port Hawkesbury, #4; Unzipped, #5; The Monkey’s Paw, #1, #2; Aphorisms, #2; almost visible, #1; Effective Persuasion, #1; Poetry, #1; Birch Bark, #1; Fern Hill, #1; Amiri Baraka, #1; Summer Night, #5; From The Canterbury Tales, #5; Sonnet 116, #5; O Can You Leave Your Native Land? #4; Dover Beach, #4

pp. 51–53

2.3.1.4 assess the choices and motives of characters and persons portrayed in texts in light of the choices and motives of self and others

The Rocking-Horse Winner, p. 34, #1; A Devoted Son, p. 86, #1; Magpies, p. 95, #2; Short Fiction Wrap-Up, p. 163, #4; Afternoon of an American Boy, p. 215, #3; A Place to Stand On, p. 222, #1; Elegy in Stone, p. 235, #1; Unzipped, p. 389, #2; Poetry Wrap-Up, p. 611, #1; A Marriage Proposal, p. 633, #1

The Rocking-Horse Winner, #3; Outside Edges, #4; The Shining Houses, #3; A Devoted Son, #4; Peace and War, #4; Was It a Dream? #1, #2, #4; Ka-Ching! #2, #5; The Death of History Is Bunk, #4; Paradise, a Poet, and Promised Land, #1; Hockey Night in Port Hawkesbury, #2, #4; Ours by Design, #4; From The Canterbury Tales, #2, #5; O Can You Leave Your Native Land? #2

pp. 111; 146–148; 193–194

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Points ELA 30-1 Outcomes 2.3.1.5 examine and respond personally and critically to the ways in which cultural and societal influences are reflected in a variety of Canadian and international texts

The Rocking-Horse Winner, p. 35, #3; Mazes, p. 149, #1; Short Fiction Wrap-Up, p. 163, #1; Universal Themes and Patterns: Activities, p. 193, #2; Afternoon of an American Boy, p. 215, #1, #3; Hockey Night in Port Hawkesbury, p. 335, #1; The Sixth Flight, p. 344, #3; Unzipped, p. 389, #2; Media on Media: Activities, p. 451, #2; A Marriage Proposal, p. 633, #3

Outside Edges, #4; Magpies, #2; The Spirit of Haida Gwaii, #1, #5; The Hero’s Adventure, #2; Araby from Dubliners, #3; Portrait of the Essay as a Warm Body, #5; Of Youth and Age, #2; Call of the Weird, #2; A Modest Proposal, #5; Get Beyond Babel, #4; Wanderers by Choice, #3; Hockey Night in Port Hawkesbury, #2, #4; Ours by Design, #4; Landscape with the Fall of Icarus, #3; Unzipped, #5; Morty Mania, #1; Summer Night, #5; O Can You Leave Your Native Land? #4; Dover Beach, #4, #5

pp. 52–53; 124–137; 205–212

2.3.2 Evaluate the verisimilitude, appropriateness and significance of print and nonprint texts 2.3.2.1 identify and describe critical thinking strategies and skills that may be used to evaluate text; select appropriate strategies, and monitor their effectiveness; and modify selected strategies as needed

Universal Themes and Patterns: Activities, p. 193, #3; Peace, Technology, and the Role of Ordinary People, p. 321, #1; Ours by Design, p. 362, #2; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #2; Evening, p. 484, #1; Because I Could Not Stop for Death—, p. 610, #1

The Rocking-Horse Winner, #3; Of Youth and Age, #5; Why I Write, #1; The Death of History Is Bunk, #3; Canada: A Virtual History, #2; Unzipped, #5; Morty Mania, #2, #4, #5; The Monkey’s Paw, #1, #4; Restoring Life on the Edge, #2; Aphorisms, #2; The News, #1, #2; Learning Without Lectures, #2; King Zog’s Birthday, #3; Giant Database Is Ripe for Abuse, #1, #2, #3; Poetry, #3; From The Canterbury Tales, #5; Dead Parrot, #5

pp. 57; 64; 82; 190; 232; 235; 241; 243; 245; 250; 259; 260–264; 268; 270; 286; 303; 310

2.3.2.2 assess the truth and significance of a text’s theme or controlling idea, and the adequacy, relevance and effectiveness of its content [for example, the effectiveness of supporting details, examples or illustrations]

The Rocking-Horse Winner, p. 34, #1; Magpies, p. 95, #1; Mazes, p. 149, #1; Was It a Dream? p. 153, #2; Short Fiction Wrap-Up, p. 163, #1; Universal Themes and Patterns: Activities, p. 193, #3, #4; Afternoon of an American Boy, p. 215, #1; Guy Lafleur, p. 250, #1, #3; The Death of History Is Bunk, p. 305, #1; Ours by Design, p. 362, #2; Canada: A Virtual History, p. 380, #2; Media on Media: Activities, p. 451, #3; Fern Hill, p. 497, #2; Drama Wrap-Up, p. 655, #1

Was It a Dream? #2; Portrait of the Essay as a Warm Body, #4; A Place to Stand On, #3; Elegy in Stone, #2, #3; Guy Lafleur, #2; Of Youth and Age, #2; Why I Write, #2; The Death of History Is Bunk, #4; Paradise, a Poet, and Promised Land, #2; Ours by Design, #4; The Monkey’s Paw, #4; Learning Without Lectures, #2; Is the Pathetic Fallacy True? #3; Prairie Flight, #5; The Heroes You Had as a Girl, #5; From The Canterbury Tales, #3; O Can You Leave Your Native Land? #2, #3

pp. 55–57; 75–76; 84

2.3.2.3 assess the appropriateness of own and others’ understandings and interpretations of works of literature and other texts, by referring to the works and texts for supporting or contradictory evidence

The Rocking-Horse Winner, p. 34, #1; The Shining Houses, p. 73, #1, #2; Peace and War, p. 141, #2; Was It a Dream? p. 153, #1; Short Fiction Wrap-Up, p. 163, #1, #3; Afternoon of an American Boy, p. 215, #1, #2; A Place to Stand On, p. 223, #3; Elegy in Stone, p. 235, #2; Guy Lafleur, p. 250, #2; Migrant Mother, p. 256, #1; Landscape with the Fall of Icarus, p. 366, #1, #2; Canada: A Virtual History, p. 380, #2; Unzipped, p. 389, #1; The Humpback of Notre Dame, p. 392, #1; Media on Media: Activities, p. 451, #2; Fern Hill, p. 497, #2; The Committee to Upgrade Celestial Signs, p. 502, #1; Poetry Wrap-Up, p. 611, #1; Shakespeare: Activities, p. 700, #2

The Rocking-Horse Winner, #3; Magpies, #4; The Spirit of Haida Gwaii, #5; Was It a Dream? #4, #5; Portrait of the Essay as a Warm Body, #4; Afternoon of an American Boy, #1; Migrant Mother, #2, #4; Call of the Weird, #3; Paradise, a Poet, and Promised Land, #2; Restoring Life on the Edge, #2; Prairie Flight, #5; Progress, #4; The Love Song of J. Alfred Prufrock, #5; From The Canterbury Tales, #5; From Strong Women Prevail in Shakespeare’s Comedies, #3

pp. 54–57; 75–76

2.3.2.4 analyze and assess settings and plots in terms of created reality and plausibility [for example, determine the authenticity of the setting of a work of historical fiction]

The Rocking-Horse Winner, p. 34, #1; Was It a Dream? p. 153, #2; A Place to Stand On, p. 223, #3; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #2

Windows, #2; War, #5; The Monkey’s Paw, #4

pp. 143–145; 148–149

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Points ELA 30-1 Outcomes 2.3.2.5 analyze and assess character and characterization in terms of consistency of behaviour, motivation and plausibility, and in terms of contribution to theme [for example, determine the meanings suggested by a change in a character’s behaviour or values]

The Rocking-Horse Winner, p. 34, #1; The Shining Houses, p. 73, #2; Magpies, p. 95, #2; Easter at My Aunt’s, p. 118, #1; War, p. 136, #1; A Marriage Proposal, p. 633, #2; From Acoose: Man Standing Above Ground, p. 639, #1; Drama Wrap-Up, p. 655, #1, #2

Write Me Sometime, #3; A Devoted Son, #4; Magpies, #4; The Winner, #3; Windows, #4; War, #2; Peace and War, #4; Was It a Dream? #4; From No Great Mischief, #2; Elegy in Stone, #5; Hockey Night in Port Hawkesbury, #3; Unzipped, #5; Effective Persuasion, #3; foremother, #2; From Strong Women Prevail in Shakespeare’s Comedies, #3

pp. 111; 138; 146–148; 193–194

2.3.2.6 analyze and assess images in print and nonprint texts in terms of created reality and appropriateness to purpose and audience

Twisted Roots, p. 60, #2; Easter at My Aunt’s, p. 118, #2; Migrant Mother, p. 256, #2; Landscape with the Fall of Icarus, p. 366, #2; The Poetry of Earth and Sky, p. 370, #1; Unzipped, p. 389, #1; The Humpback of Notre Dame, p. 392, #1; Media on Media: Activities, p. 451, #2; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #2

Easter at My Aunt’s, #3, #4; War, #5; Migrant Mother, #2, #4, #5; Look What I Found, #1, #2; Landscape with the Fall of Icarus, #4; Canada: A Virtual History, #4, #5; Morty Mania, #5; Learning Without Lectures, #2; King Zog’s Birthday, #3; Let’s Stop Being Hysterical, #3; A Poison Tree, #2; The Rime of the Ancient Mariner, #3; Film Location for Random Passage, #5

pp. 36–39; 163–168; 239–250; 255–268; 323

2.3.3 Appreciate the effectiveness and artistry of print and nonprint texts 2.3.3.1 develop appropriate terminology for discussing the effectiveness and artistry of a broad variety of text forms, and use terminology appropriately

Calgary from Sunnyside, p. 46, #2; Windows, p. 117, #1; Easter at My Aunt’s, p. 118, #2; The Spirit of Haida Gwaii, p. 142, #1; Short Fiction Wrap-Up, p. 163, #3; Universal Themes and Patterns: Activities, p. 193, #2, #3; Afternoon of an American Boy, p. 215, #2; Shower at Ohashi Bridge, p. 368, #1; Canada: A Virtual History, p. 380, #1; Evening, p. 484, #2; Drama Wrap-Up, p. 655, #1

The Rocking-Horse Winner, #4; Outside Edges, #2; Twisted Roots, #3; The Spirit of Haida Gwaii, #4; Ode to the West Wind, #3; Utopian Dreams, #2; Portrait of the Essay as a Warm Body, #4; Afternoon of an American Boy, #1; Migrant Mother, #3, #5; The Sixth Flight, #5; A Chat with Al Purdy, #2, #4; Landscape with the Fall of Icarus, #4; Shower at Ohashi Bridge, #4, #5; Canada: A Virtual History, #1, #5; The Humpback of Notre Dame, #3, #5; King Zog’s Birthday, #3; Set Design for The Foreigner, #3; Film Location for Random Passage, #3, #5; Saloonio, #2

pp. 50; 119; 150; 163; 181; 387–396

2.3.3.2 appreciate the craft of the text creator and the shape and substance of works of literature and other texts

Calgary from Sunnyside, p. 46, #2; Twisted Roots, p. 60, #2; A Devoted Son, p. 86, #3; The Winner, p. 108, #3; Windows, p. 117, #1; Easter at My Aunt’s, p. 118, #2; War, p. 137, #3; The Spirit of Haida Gwaii, p. 142, #2; From No Great Mischief, p. 161, #1, #2; Short Fiction Wrap-Up, p. 163, #2, #3; Universal Themes and Patterns: Activities, p. 193, #3; A Place to Stand On, p. 223, #2, #3; The Death of the Moth, p. 241, #3; A Modest Proposal, p. 293, #2; Landscape with the Fall of Icarus, p. 366, #2; Shower at Ohashi Bridge, p. 368, #1; The Poetry of Earth and Sky, p. 370, #2; Canada: A Virtual History, p. 380, #1; Morty Mania, p. 394, #2; Evening, p. 484, #1, #2; Prairie Flight, p. 493, #2; Amiri Baraka, p. 498, #2; Summer Night, p. 529, #2; The River, p. 544, #2; Mu-lan, p. 552, #2; The Rime of the Ancient Mariner, p. 600, #2

The Rocking-Horse Winner, #4; Calgary from Sunnyside, #5; Outside Edges, #2; Twisted Roots, #3; The Shining Houses, #4; Windows, #3; Peace and War, #3; The Spirit of Haida Gwaii, #4; From No Great Mischief, #2, #3, #4; Portrait of the Essay as a Warm Body, #4; Afternoon of an American Boy, #1, #5; Guy Lafleur, #4; Migrant Mother, #3, #5; Why I Write, #3; The Not-So-Deadly Sin, #1; A Chat with Al Purdy, #3; Look What I Found, #2; Landscape with the Fall of Icarus, #2, #4; Shower at Ohashi Bridge, #4, #5; Canada: A Virtual History, #5; The Humpback of Notre Dame, #3, #5; Evening, #3; Fern Hill, #4; Amiri Baraka, #4, #5; Afternoons & Coffeespoons, #4; The River, #4; From The Canterbury Tales, #2, #5; O Can You Leave Your Native Land? #5; Because I Could Not Stop for Death—, #4; A Marriage Proposal, #3

pp. 57; 75–76; 81–82; 84–86; 268–270

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Points ELA 30-1 Outcomes General Outcome 3 – Students will listen, speak, read, write, view and represent to manage ideas and information. 3.1 Determine inquiry requirements 3.1.1 Focus on purpose and presentation form 3.1.1.1 reflect on and describe strategies for determining the depth and breadth of inquiry and for identifying the purpose, audience and potential forms of presentation; select and monitor appropriate strategies; modify selected strategies as needed

Chameleons and Codas, p. 228, #3; Media on Media: Activities, p. 451, #1, #4; Argument and Persuasion: Activities, p. 475, #4

My Mother’s Blue Bowl, #4; Get Beyond Babel, #5; Ours by Design, #5; Set Design for The Foreigner, #4

pp. 65−67; 81−86; 87–88

3.1.1.2 limit or expand the inquiry or research topic as appropriate, refine the purpose of inquiry or research, and sharpen perceptions of the nature of the target audience and the potential form for presentation

Chameleons and Codas, p. 228, #3; Get Beyond Babel, p. 299, #3; Peace, Technology, and the Role of Ordinary People, p. 322, #3; Media on Media: Activities, p. 451, #1, #4; Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #3; Shakespeare: Activities, p. 700, #4

Chameleons and Codas, #5; My Mother’s Blue Bowl, #4; A Modest Proposal, #4; Get Beyond Babel, #5; Hockey Night in Port Hawkesbury, #4; Ours by Design, #5; Set Design for The Foreigner, #4

pp. 65−66; 81−86; 88−89; 308−311

3.1.2 Plan inquiry or research, and identify information needs and sources 3.1.2.1 reflect on and describe strategies for developing an inquiry or research plan that will foster understanding; select and monitor appropriate strategies; and modify selected strategies as needed to plan inquiry or research effectively

Poetry Wrap-Up, p. 611, #3 Chameleons and Codas, #5; Get Beyond Babel, #5; Ours by Design, #5; Restoring Life on the Edge, #1; grammar poem, #5; Set Design for The Foreigner, #5; Dead Parrot, #5

pp. 65−66; 88−89

3.1.2.2 select from a repertoire of effective strategies to develop appropriate inquiry or research plans that will address the topic and satisfy contextual requirements and requirements of presentation form

Buying Your Next Synthesizer, p. 348, #1; Restoring Life on the Edge, p. 421, #2; Media on Media: Activities, p. 451, #1; Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #3

Calgary from Sunnyside, #4; A Devoted Son, #5; Chameleons and Codas, #5; A Modest Proposal, #4; Get Beyond Babel, #5; Ours by Design, #5; The Heroes You Had as a Girl, #5; Summer Night, #4; grammar poem, #5; Set Design for The Foreigner, #5; Dead Parrot, #5

pp. 67; 312

3.1.2.3 determine breadth and depth of prior knowledge, and formulate and refine questions to determine and categorize information needs and to guide the collection of required information

Afternoon of an American Boy, p. 215, #3; Restoring Life on the Edge, p. 421, #2; Media on Media: Activities, p. 451, #1; Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #3; Shakespeare: Activities, p. 700, #4

Calgary from Sunnyside, #4; A Devoted Son, #5; Easter at My Aunt’s, #5; Chameleons and Codas, #5; My Mother’s Blue Bowl, #4; Wanderers by Choice, #5; Peace, Technology, and the Role of Ordinary People, #5; Restoring Life on the Edge, #1; The Heroes You Had as a Girl, #5; grammar poem, #5; Set Design for The Foreigner, #5; Dead Parrot, #5

pp. 88−89; 309−311

3.1.2.4 identify and predict the usefulness of information sources intended to fill gaps between prior knowledge and required information

Afternoon of an American Boy, p. 215, #3; Buying Your Next Synthesizer, p. 348, #1; Unzipped, p. 389, #1; Restoring Life on the Edge, p. 421, #2; Media on Media: Activities, p. 451, #1, #4; Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #3

Calgary from Sunnyside, #3, #4; A Devoted Son, #5; The Spirit of Haida Gwaii, #5; Chameleons and Codas, #5; Get Beyond Babel, #5; Ours by Design, #5; Unzipped, #1; Restoring Life on the Edge, #1; The Heroes You Had as a Girl, #5; grammar poem, #5; Set Design for The Foreigner, #5; Dead Parrot, #5; The Shakespearean Tragic Hero, #3

pp. 89−90

3.1.2.5 develop and draw from a repertoire of effective strategies and technologies for gathering, generating and recording information

Universal Themes and Patterns: Activities, p. 193, #4; Buying Your Next Synthesizer, p. 348, #1; Unzipped, p. 389, #1; Restoring Life on the Edge, p. 421, #2; Media on Media: Activities, p. 451, #1, #4; Argument and Persuasion: Activities, p. 475, #4

Calgary from Sunnyside, #3, #4; A Devoted Son, #5; Easter at My Aunt’s, #5; Chameleons and Codas, #5; Get Beyond Babel, #5; Peace, Technology, and the Role of Ordinary People, #5; Ours by Design, #5; Look What I Found, #5; Unzipped, #1; Restoring Life on the Edge, #1; Summer Night, #4; Set Design for The Foreigner, #5; Dead Parrot, #5; The Shakespearean Tragic Hero, #3

pp. 89−90; 309−311

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Points ELA 30-1 Outcomes 3.2 Follow a plan of inquiry 3.2.1 Select, record and organize information 3.2.1.1 reflect on and describe strategies that may be used to select, record and organize information; select and monitor appropriate strategies; and modify selected strategies as needed

Write Me Sometime, p. 45, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Poetry Wrap-Up, p. 611, #3

War, #4; Why I Write, #5; Get Beyond Babel, #5; to you who would wage war against me, #5; Set Design for The Foreigner, #4, #5; Dead Parrot, #5

pp. 33–35; 52; 88−89; 309−311

3.2.1.2 select information and other material appropriate to purpose from a variety of print and nonprint sources

Short Fiction Wrap-Up, p. 163, #4; Universal Themes and Patterns: Activities, p. 193, #4; Ka-Ching! p. 208, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #1; Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #3; Shakespeare: Activities, p. 700, #4

The Rocking-Horse Winner, #5; Write Me Sometime, #5; Windows, #5; Easter at My Aunt’s, #5; Peace and War, #3; The Spirit of Haida Gwaii, #2; Portrait of the Essay as a Warm Body, #5; Chameleons and Codas, #5; Elegy in Stone, #4; My Mother’s Blue Bowl, #5; Get Beyond Babel, #5; Hockey Night in Port Hawkesbury, #4; Birch Bark, #5; The Heroes You Had as a Girl, #5; to you who would wage war against me, #5; grammar poem, #5; Set Design for The Foreigner, #4; Dead Parrot, #5

pp. 46−47; 89−90; 137; 138; 239; 245; 309−311

3.2.1.3 record information accurately and completely; and use a consistent style to document and reference sources, when applicable

Write Me Sometime, p. 45, #3; Universal Themes and Patterns: Activities, p. 193, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1, #2; Media on Media: Activities, p. 451, #1; Poetry Wrap-Up, p. 611, #3; Shakespeare: Activities, p. 700, #4

The Rocking-Horse Winner, #3, #5; Easter at My Aunt’s, #5; War, #3; Portrait of the Essay as a Warm Body, #5; Chameleons and Codas, #5; Elegy in Stone, #4; My Mother’s Blue Bowl, #5; Why I Write, #5; Get Beyond Babel, #5; Hockey Night in Port Hawkesbury, #4; Look What I Found, #5; Landscape with the Fall of Icarus, #1; Birch Bark, #5; The Heroes You Had as a Girl, #5; to you who would wage war against me, #5; grammar poem, #5; Dover Beach, #5; Set Design for The Foreigner, #4, #5; Dead Parrot, #5; The Shakespearean Tragic Hero, #3

pp. 93−96; 311; 316; 331−334

3.2.1.4 organize information logically [such as by question, by category, by chronology or by cause and effect]

Universal Themes and Patterns: Activities, p. 193, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1; Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #3

Easter at My Aunt’s, #5; War, #4; From The Archetypes of Literature, #3; Portrait of the Essay as a Warm Body, #5; Chameleons and Codas, #5; My Mother’s Blue Bowl, #5; Get Beyond Babel, #5; Hockey Night in Port Hawkesbury, #4; Look What I Found, #5; Landscape with the Fall of Icarus, #1; Birch Bark, #5; to you who would wage war against me, #5; grammar poem, #5; Set Design for The Foreigner, #4; Dead Parrot, #5; The Shakespearean Tragic Hero, #3

pp. 33–35; 52; 57; 61; 65−67; 93−94; 312−315

3.2.2 Evaluate sources, and assess information 3.2.2.1 reflect on and describe strategies for evaluating information sources and for detecting bias; select and monitor appropriate strategies; and modify selected strategies as needed to evaluate sources and detect bias

Get Beyond Babel, p. 299, #3; Peace, Technology, and the Role of Ordinary People, p. 322, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1

The Monkey’s Paw, #5

pp. 9−10; 47; 214−215; 216–218; 222; 227; 244−245; 271−272

3.2.2.2 assess information sources for credibility and for appropriateness to purpose, audience and presentation form

Get Beyond Babel, p. 299, #3; Peace, Technology, and the Role of Ordinary People, p. 322, #3; The Monkey’s Paw, p. 404, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #1; Argument and Persuasion: Activities, p. 475, #4

Chameleons and Codas, #5; Of Youth and Age, #5; Get Beyond Babel, #5; The Monkey’s Paw, #5; The Heroes You Had as a Girl, #5; foremother, #5

pp. 47; 93; 216−218

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Points ELA 30-1 Outcomes 3.2.2.3 assess the accuracy, completeness and currentness of information selected from sources; and assess the relevance and appropriateness of the information to purpose

Universal Themes and Patterns: Activities, p. 193, #4; Get Beyond Babel, p. 299, #3; Peace, Technology, and the Role of Ordinary People, p. 322, #3; The Monkey’s Paw, p. 404, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #1

Easter at My Aunt’s, #5; Chameleons and Codas, #5; Get Beyond Babel, #5; The Heroes You Had as a Girl, #5; grammar poem, #5

pp. 47; 93

3.2.2.4 identify and describe possible biases and vested interests of sources; and explain how underlying assumptions, biases, and positive or negative spin affect the credibility of sources

Get Beyond Babel, p. 299, #3; Peace, Technology, and the Role of Ordinary People, p. 322, #3; The Monkey’s Paw, p. 404, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1

Chameleons and Codas, #5; Of Youth and Age, #5; Get Beyond Babel, #5; The Monkey’s Paw, #5; foremother, #5; grammar poem, #5

pp. 47; 259−263

3.2.3 Form generalizations and conclusions 3.2.3.1 form generalizations and synthesize new ideas by integrating new information with prior knowledge

Write Me Sometime, p. 45, #3; Short Fiction Wrap-Up, p. 163, #4; Universal Themes and Patterns: Activities, p. 193, #1, #4; Afternoon of an American Boy, p. 215, #3; Peace, Technology, and the Role of Ordinary People, p. 322, #3; Media on Media: Activities, p. 451, #1, #4; Argument and Persuasion: Activities, p. 475, #1, #4; Poetry Wrap-Up, p. 611, #3

The Rocking-Horse Winner, #3; Write Me Sometime, #4; A Devoted Son, #5; War, #4; The Spirit of Haida Gwaii, #2; Chameleons and Codas, #5; Get Beyond Babel, #5; Hockey Night in Port Hawkesbury, #4; Landscape with the Fall of Icarus, #1; The Monkey’s Paw, #1; Restoring Life on the Edge, #4; The Heroes You Had as a Girl, #5; foremother, #5; grammar poem, #5

pp. 61; 89; 91; 94

3.2.3.2 draw conclusions that are appropriate to findings, reflect own understandings and are consistent with the identified topic, purpose and situation

Write Me Sometime, p. 45, #3; Universal Themes and Patterns: Activities, p. 193, #4; Afternoon of an American Boy, p. 215, #3; Get Beyond Babel, p. 299, #3; Media on Media: Activities, p. 451, #1, #2, #4; Argument and Persuasion: Activities, p. 475, #1, #4; Poetry Wrap-Up, p. 611, #3

The Rocking-Horse Winner, #3; Write Me Sometime, #4; A Devoted Son, #5; War, #4; The Spirit of Haida Gwaii, #2; Portrait of the Essay as a Warm Body, #5; Chameleons and Codas, #5; Of Youth and Age, #5; Get Beyond Babel, #5; Hockey Night in Port Hawkesbury, #4; Unzipped, #1; The Monkey’s Paw, #5; The Heroes You Had as a Girl, #5; grammar poem, #5

pp. 314−315

3.2.3.3 support generalizations and conclusions sufficiently with relevant and consistent detail

Write Me Sometime, p. 45, #3; Universal Themes and Patterns: Activities, p. 193, #4; Afternoon of an American Boy, p. 215, #3; Get Beyond Babel, p. 299, #3; Peace, Technology, and the Role of Ordinary People, p. 322, #3; Media on Media: Activities, p. 451, #1, #2, #4; Argument and Persuasion: Activities, p. 475, #1, #4; Poetry Wrap-Up, p. 611, #3

The Rocking-Horse Winner, #3; Write Me Sometime, #4; A Devoted Son, #5; Easter at My Aunt’s, #5; War, #4; The Spirit of Haida Gwaii, #2; Of Youth and Age, #5; Get Beyond Babel, #5; Hockey Night in Port Hawkesbury, #4; The Monkey’s Paw, #5; The Heroes You Had as a Girl, #5; grammar poem, #5

pp. 65−67; 75−76; 91–94

3.2.4 Review inquiry or research process and findings 3.2.4.1 reflect on and assess the effectiveness of strategies used to guide inquiry or research [such as the effective use of time and the division of labour when involved in group research]

Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #3

Restoring Life on the Edge, #1 pp. 6; 88; 95

3.2.4.2 identify strategies to improve future inquiry or research, and monitor the effectiveness of these strategies

Argument and Persuasion: Activities, p. 475, #4

Restoring Life on the Edge, #1

pp. 89; 93

3.2.4.3 review the appropriateness and significance of findings, conclusions and generalizations drawn from gathered data and information

Peace, Technology, and the Role of Ordinary People, p. 322, #3; Media on Media: Activities, p. 451, #1; Argument and Persuasion: Activities, p. 475, #1, #4; Poetry Wrap-Up, p. 611, #3

War, #4; Of Youth and Age, #5; The Heroes You Had as a Girl, #5; grammar poem, #5

pp. 93; 94

16


Points ELA 30-1 Outcomes General Outcome 4 – Students will listen, speak, read, write, view and represent to create oral, print, visual and multimedia texts, and enhance the clarity and artistry of communication. 4.1 Develop and present a variety of print and nonprint texts 4.1.1 Assess text creation context 4.1.1.1 reflect on and monitor personal motives when determining the purpose for text creation and selecting strategies to engage an audience; and consider potential consequences of text creation

A Modest Proposal, p. 293, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #3; Poetry Wrap-Up, p. 611, #4; Drama Wrap-Up, p. 655, #1, #3; Shakespeare: Activities, p. 700, #2

Mazes, #4; Restoring Life on the Edge, #5; The News, #2; Learning Without Lectures, #3; almost visible, #3; Let’s Stop Being Hysterical, #3; The Committee to Upgrade Celestial Signs, #4; Afternoons & Coffeespoons, #5; The Rime of the Ancient Mariner, #5; From Hamlet, #3

pp. 52; 73; 105; 114−115; 123; 138; 161−162

4.1.1.2 assess and explain purpose, assess and describe target audience, and select from a broad repertoire of effective strategies to accomplish purpose and engage audience

Short Fiction Wrap-Up, p. 163, #3, #4; Ka-Ching! p. 208, #3; A Modest Proposal, p. 293, #3; Wanderers by Choice, p. 312, #1; Buying Your Next Synthesizer, p. 348, #3; Ours by Design, p. 363, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #3, #4; Media on Media: Activities, p. 451, #1; Argument and Persuasion: Activities, p. 475, #3; The Heroes You Had as a Girl, p. 506, #2; Poetry Wrap-Up, p. 611, #4; Drama Wrap-Up, p. 655, #1, #3; Shakespeare: Activities, p. 700, #2

Calgary from Sunnyside, #5; The Shining Houses, #5; A Devoted Son, #5; Peace and War, #5; Afternoon of an American Boy, #4; My Mother’s Blue Bowl, #4; A Modest Proposal, #5; Get Beyond Babel, #5; The Death of History Is Bunk, #5; Paradise, a Poet, and Promised Land, #5; The Sixth Flight, #5; The Poetry of Earth and Sky, #3; Unzipped, #4; Morty Mania, #5; Restoring Life on the Edge, #5; The News, #2; Learning Without Lectures, #3; almost visible, #3; Afternoons & Coffeespoons, #5; The Rime of the Ancient Mariner, #5; Set Design for The Foreigner, #4; From Hamlet, #3

pp. 2; 88; 204; 214

4.1.1.3 assess audience factors that affect text creation, and explain how consideration of audience factors has affected choices

Short Fiction Wrap-Up, p. 163, #4; Guy Lafleur, p. 250, #3; Ours by Design, p. 363, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Media on Media: Activities, p. 451, #1; Argument and Persuasion: Activities, p. 475, #3; Poetry Wrap-Up, p. 611, #4; Drama Wrap-Up, p. 655, #3; Shakespeare: Activities, p. 700, #3

The Shining Houses, #5; A Devoted Son, #5; My Mother’s Blue Bowl, #4; A Modest Proposal, #4, #5; Paradise, a Poet, and Promised Land, #5; The Sixth Flight, #5; The Poetry of Earth and Sky, #3; Unzipped, #4; Restoring Life on the Edge, #5; almost visible, #3; Let’s Stop Being Hysterical, #3; Set Design for The Foreigner, #4; From Hamlet, #3

pp. 242−243; 327

4.1.1.4 assess expectations and constraints of a communication situation, select from a broad repertoire of effective strategies to address expectations and constraints, and explain how expectations and constraints have been met

Short Fiction Wrap-Up, p. 163, #2, #3; Elegy in Stone, p. 235, #3; Guy Lafleur, p. 250, #3; Wanderers by Choice, p. 312, #1; Ours by Design, p. 363, #3; Argument and Persuasion: Activities, p. 475, #1; grammar poem, p. 547, #2; Poetry Wrap-Up, p. 611, #4; Set Design for The Foreigner, p. 634, #2; Drama Wrap-Up, p. 655, #3; Shakespeare: Activities, p. 700, #2, #3

Calgary from Sunnyside, #5; The Shining Houses, #5; Mazes, #4; My Mother’s Blue Bowl, #4; The Not-So-Deadly Sin, #4; Hockey Night in Port Hawkesbury, #5; A Marriage Proposal, #4; From Hamlet, #3; Saloonio, #3

pp. 88; 321−323

4.1.2 Consider and address form, structure and medium 4.1.2.1 select, or develop, a text form appropriate to the purpose for text creation and consistent with the content to be presented in the text

Chameleons and Codas, p. 228, #3; The Sixth Flight, p. 344, #2; Media on Media: Activities, p. 451, #4; grammar poem, p. 547, #2; Drama Wrap-Up, p. 655, #3; Shakespeare: Activities, p. 700, #2, #3

The Death of History Is Bunk, #5; The Humpback of Notre Dame, #4; Learning Without Lectures, #3; King Zog’s Birthday, #1; almost visible, #2; Engineers’ Corner, #5; The Committee to Upgrade Celestial Signs, #4; From Beowulf, #5

pp. 49; 112−113; 182−191; 204−205; 214−215

4.1.2.2 use a broad variety of complex structures consistent with form, content and purpose when creating texts [such as cause and effect to explain the sequence of events in a novel]; and explain reasons for choices

Write Me Sometime, p. 45, #3; The Shining Houses, p. 73, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #2; Argument and Persuasion: Activities, p. 475, #1, #3; Poetry Wrap-Up, p. 611, #3; Drama Wrap-Up, p. 655, #3; Shakespeare: Activities, p. 700, #4

Write Me Sometime, #5; Magpies, #4; The Spirit of Haida Gwaii, #4; Elegy in Stone, #4; The News, #2; Learning Without Lectures, #3; vancouver–courtenay–calgary, #5; Summer Night, #5; From Beowulf, #3; The Rime of the Ancient Mariner, #5; A Marriage Proposal, #5

pp. 65−68

17


Points ELA 30-1 Outcomes 4.1.2.3 select an effective medium appropriate to content and context; and explain the interplay of medium, context and content

A Chat with Al Purdy, p. 353, #3; Essays, Articles, and Media Wrap-Up, p. 429, #3, #4; Media on Media: Activities, p. 451, #4; Engineers’ Corner, p. 480, #4; Shakespeare: Activities, p. 700, #3

Write Me Sometime, #5; The Poetry of Earth and Sky, #5; The Humpback of Notre Dame, #4; Restoring Life on the Edge, #5; Learning Without Lectures, #3; Engineers’ Corner, #4; The Committee to Upgrade Celestial Signs, #4; From Beowulf, #5

pp. 214−215

4.1.2.4 explain why conventions of form are important to text creation

The Shining Houses, p. 73, #3; Short Fiction Wrap-Up, p. 163, #3; Essays, Articles, and Media Wrap-Up, p. 429, #3; Media on Media: Activities, p. 451, #4; Progress, p. 526, #2; From Beowulf, p. 559, #2; The Rime of the Ancient Mariner, p. 600, #2; Poetry Wrap-Up, p. 611, #3; Drama Wrap-Up, p. 655, #4

Migrant Mother, #3; Landscape with the Fall of Icarus, #5; The Humpback of Notre Dame, #4; A Marriage Proposal, #5

pp. 7−8; 65−68; 113−115; 150−159; 182−186; 190−195; 201−205; 225−228; 233−235; 256−257; 265−266; 271−272; 308−316; 335−341

4.1.2.5 apply, when appropriate, the conventions of oral, print, visual and multimedia text forms, including the common conventions of the analytical essay [for example, developing a consistent analysis of a text and supporting it with evidence drawn from the text]

Write Me Sometime, p. 45, #3; The Winner, p. 108, #3; Short Fiction Wrap-Up, p. 163, #1; Universal Themes and Patterns: Activities, p. 193, #4; The Death of the Moth, p. 241, #3; Guy Lafleur, p. 250, #3; Call of the Weird, p. 282, #2; Get Beyond Babel, p. 299, #3; Wanderers by Choice, p. 312, #1; Slide to Entropy, p. 326, #3; The Sixth Flight, p. 344, #2; Buying Your Next Synthesizer, p. 348, #2, #3; A Chat with Al Purdy, p. 353, #3; Shower at Ohashi Bridge, p. 368, #2; Essays, Articles, and Media Wrap-Up, p. 429, #1, #3; Argument and Persuasion: Activities, p. 475, #1, #3, #4; Engineers’ Corner, p. 480, #2; Poetry Wrap-Up, p. 611, #3, #4; Film Location for Random Passage, p. 640, #2; Drama Wrap-Up, p. 655, #4; Shakespeare: Activities, p. 700, #3, #4

Write Me Sometime, #5; Twisted Roots, #5; The Winner, #4; Easter at My Aunt’s, #3; The Spirit of Haida Gwaii, #4; Afternoon of an American Boy, #2, #4; The Death of the Moth, #5; My Mother’s Blue Bowl, #5; Migrant Mother, #3; Why I Write, #5; A Modest Proposal, #3; Get Beyond Babel, #5; Look What I Found, #3; Landscape with the Fall of Icarus, #5; Shower at Ohashi Bridge, #3, #5; The Poetry of Earth and Sky, #5; The Humpback of Notre Dame, #3; Restoring Life on the Edge, #5; The News, #2; Our Water Sovereignty Is at Risk, #3; Is the Pathetic Fallacy True? #5; From Beowulf, #3; The Rime of the Ancient Mariner, #5; A Marriage Proposal, #5; Film Location for Random Passage, #4; Dead Parrot, #4

pp. 7−8; 65−68; 113−115; 150−159; 182−186; 190−195; 201−205; 225−228; 233−235; 256−257; 265−266; 271−272; 308−316; 335−341

4.1.2.6 depart from the conventions of oral, print, visual and multimedia text, as appropriate to purpose, audience and situation [for example, employ the conventions of fiction when creating factual narrative to fulfill purpose and create audience effects]

My Mother’s Blue Bowl, p. 255, #3; Why I Write, p. 271, #3; Essays, Articles, and Media Wrap-Up, p. 429, #4

Why I Write, #4; Restoring Life on the Edge, #5; foremother, #5

p. 119

4.1.3 Develop content 4.1.3.1 take ownership of text creation, by selecting or crafting a topic, concept or idea that is personally meaningful and engaging

Short Fiction Wrap-Up, p. 163, #1; Portrait of the Essay as a Warm Body, p. 204, #3; A Modest Proposal, p. 293, #3; Wanderers by Choice, p. 312, #3; Shower at Ohashi Bridge, p. 368, #2; The Monkey’s Paw, p. 404, #2; Restoring Life on the Edge, p. 421, #2; Essays, Articles, and Media Wrap-Up, p. 429, #1, #3; Argument and Persuasion: Activities, p. 475, #1, #4; grammar poem, p. 547, #2; From Acoose: Man Standing Above Ground, p. 639, #3; Stop! p. 649, #3; Dead Parrot, p. 654, #3

Outside Edges, #4, #5; Twisted Roots, #5; The Winner, #1, #5; Easter at My Aunt’s, #3; Peace and War, #5; Araby from Dubliners, #1; Afternoon of an American Boy, #2; Elegy in Stone, #4; Why I Write, #4; Peace, Technology, and the Role of Ordinary People, #4; Landscape with the Fall of Icarus, #5; Effective Persuasion, #2; Giant Database Is Ripe for Abuse, #3; Engineers’ Corner, #5; Is the Pathetic Fallacy True? #5; Birch Bark, #4, #5; The Heroes You Had as a Girl, #3; foremother, #4; Musée des Beaux Arts, #5; Summer Night, #1; The River, #1; Invisible Genius, #3; Saloonio, #3

pp. 52; 68−69; 73; 88; 104; 110

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Points ELA 30-1 Outcomes 4.1.3.2 recognize and assess personal variables [such as personal experience and prior knowledge] and contextual variables [such as availability of time and resources] that influence the selection of a topic, concept or idea; and address these variables to increase the likelihood of successful text creation

My Mother’s Blue Bowl, p. 255, #3; A Modest Proposal, p. 293, #3; Wanderers by Choice, p. 312, #3; Shower at Ohashi Bridge, p. 368, #2; The Monkey’s Paw, p. 404, #3; Restoring Life on the Edge, p. 421, #2; Argument and Persuasion: Activities, p. 475, #1, #3; From Acoose: Man Standing Above Ground, p. 639, #3

Outside Edges, #4, #5; The Winner, #1, #5; Easter at My Aunt’s, #3; Araby from Dubliners, #1; A Place to Stand On, #5; Let’s Stop Being Hysterical, #3; almost visible, #2; Engineers’ Corner, #5; foremother, #4; to you who would wage war against me, #2

pp. 60−61; 73; 88

4.1.3.3 establish a focus for text creation, and communicate scope by framing an effective controlling idea or describing a strong unifying effect

The Winner, p. 108, #3; Mazes, p. 149, #3; Was It a Dream? p. 154, #3; Short Fiction Wrap-Up, p. 163, #1; Universal Themes and Patterns: Activities, p. 193, #2, #4; Portrait of the Essay as a Warm Body, p. 204, #3; Afternoon of an American Boy, p. 215, #3; The Death of the Moth, p. 241, #3; Why I Write, p. 271, #3; Call of the Weird, p. 282, #2; A Modest Proposal, p. 293, #3; Wanderers by Choice, p. 312, #1; Peace, Technology, and the Role of Ordinary People, p. 321, #1; Paradise, a Poet, and Promised Land, p. 330, #3; Hockey Night in Port Hawkesbury, p. 335, #3; Shower at Ohashi Bridge, p. 368, #2; The Monkey’s Paw, p. 404, #2, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #3, #4; Media on Media: Activities, p. 451, #2, #3, #4; Argument and Persuasion: Activities, p. 475, #1, #3, #4; People on the Bridge, p. 523, #2; grammar poem, p. 547, #2; Poetry Wrap-Up, p. 611, #3; A Marriage Proposal, p. 633, #3; From Acoose: Man Standing Above Ground, p. 639, #3; Stop! p. 649, #3; Dead Parrot, p. 654, #3; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #2, #4

The Rocking-Horse Winner, #2, #4; Outside Edges, #5; Magpies, #4; The Winner, #1; Windows, #4; Easter at My Aunt’s, #3; Peace and War, #5; Araby from Dubliners, #1; Afternoon of an American Boy, #5; Elegy in Stone, #4; My Mother’s Blue Bowl, #1, #3; Migrant Mother, #3; The Not-So-Deadly Sin, #5; A Modest Proposal, #4; Get Beyond Babel, #5; Peace, Technology, and the Role of Ordinary People, #4; Slide to Entropy, #5; Landscape with the Fall of Icarus, #5; The Poetry of Earth and Sky, #4; Morty Mania, #3; Restoring Life on the Edge, #5; The News, #2; Learning Without Lectures, #3; almost visible, #2; Effective Persuasion, #2; Engineers’ Corner, #4, #5; The Heroes You Had as a Girl, #3; foremother, #5; Musée des Beaux Arts, #5; People on the Bridge, #4; Progress, #5; Mu-lan, #5; From Beowulf, #3; The Rime of the Ancient Mariner, #4, #5; O Can You Leave Your Native Land? #5; Because I Could Not Stop for Death—, #5; Dead Parrot, #4; Invisible Genius, #3; Shakespeare in the Cinema, #3

pp. 57; 60−62; 87−89; 138−139; 195

4.1.3.4 develop supporting detail, by using developmental aids appropriate to form and purpose [for example, by using storyboards to develop narrative events and details, by using charts to collect and assemble details when creating character comparisons, and by using thought webs/mind maps to develop connections among narrative elements when creating or interpreting narrative]

Mazes, p. 149, #3; Was It a Dream? p. 154, #3; Why I Write, p. 271, #3; Restoring Life on the Edge, p. 421, #2; Essays, Articles, and Media Wrap-Up, p. 429, #3; Media on Media: Activities, p. 451, #3, #4; Argument and Persuasion: Activities, p. 475, #2, #3, #4; Summer Night, p. 529, #2; Poetry Wrap-Up, p. 611, #4; Stop! p. 649, #3

The Rocking-Horse Winner, #2; Calgary from Sunnyside, #2; Twisted Roots, #5; The Winner, #1; Windows, #4; Peace and War, #5; The Hero’s Adventure, #3; Ode to the West Wind, #1; Afternoon of an American Boy, #5; Guy Lafleur, #5; My Mother’s Blue Bowl, #1; The Humpback of Notre Dame, #4; Morty Mania, #3; Restoring Life on the Edge, #5; almost visible, #2; Effective Persuasion, #2; Engineers’ Corner, #5; Amiri Baraka, #4; The Committee to Upgrade Celestial Signs, #3; People on the Bridge, #4; Progress, #4; Afternoons & Coffeespoons, #5; A Poison Tree, #5; O Can You Leave Your Native Land? #5; Because I Could Not Stop for Death—, #5; Invisible Genius, #3

pp. 33−35; 61; 88; 335−338

19


Points ELA 30-1 Outcomes 4.1.3.5 develop appropriate and relevant content sufficient to controlling idea or unifying effect [for example, relate sufficient supporting details, examples and illustrations to thesis when creating a critical/analytical response to literature]

The Rocking-Horse Winner, p. 35, #2; Write Me Sometime, p. 45, #3; Magpies, p. 95, #2; The Winner, p. 108, #3; Windows, p. 117, #2; Mazes, p. 149, #3; Was It a Dream? p. 154, #3; Short Fiction Wrap-Up, p. 163, #1, #2; Universal Themes and Patterns: Activities, p. 193, #1, #2, #3, #4; Portrait of the Essay as a Warm Body, p. 204, #3; Ka-Ching! p. 208, #3; Afternoon of an American Boy, p. 215, #3; A Place to Stand On, p. 223, #3; The Death of the Moth, p. 241, #3; Call of the Weird, p. 282, #2; Wanderers by Choice, p. 312, #1, #3; Peace, Technology, and the Role of Ordinary People, p. 321, #1; Paradise, a Poet, and Promised Land, p. 330, #3; Hockey Night in Port Hawkesbury, p. 335, #3; Look What I Found, p. 364, #2; The Monkey’s Paw, p. 404, #2; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Media on Media: Activities, p. 451, #4; Argument and Persuasion: Activities, p. 475, #1, #3, #4; Engineers’ Corner, p. 480, #2; The Committee to Upgrade Celestial Signs, p. 502, #2; Summer Night, p. 529, #2; grammar poem, p. 547, #2; Poetry Wrap-Up, p. 611, #3; A Marriage Proposal, p. 633, #3; From Acoose: Man Standing Above Ground, p. 639, #3; Dead Parrot, p. 654, #3; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #4

The Rocking-Horse Winner, #2, #4; Outside Edges, #4, #5; Twisted Roots, #5; Magpies, #4; The Winner, #1, #5; Easter at My Aunt’s, #3; War, #5; The Spirit of Haida Gwaii, #2; Was It a Dream? #4; Ode to the West Wind, #1; Araby from Dubliners, #1; Ka-Ching! #3; Afternoon of an American Boy, #2; A Place to Stand On, #5; Elegy in Stone, #4, #5; My Mother’s Blue Bowl, #3, #5; Migrant Mother, #3; A Modest Proposal, #3; Get Beyond Babel, #5; The Death of History Is Bunk, #4; Slide to Entropy, #5; Shower at Ohashi Bridge, #3, #5; The Poetry of Earth and Sky, #4; The Humpback of Notre Dame, #3; Restoring Life on the Edge, #5; Aphorisms, #2; Learning Without Lectures, #3; almost visible, #2; Giant Database Is Ripe for Abuse, #3; Let’s Stop Being Hysterical, #2; Our Water Sovereignty Is at Risk, #3; Is the Pathetic Fallacy True? #3; Birch Bark, #4, #5; Prairie Flight, #3; foremother, #4; Summer Night, #3; grammar poem, #4, #5; Mu-lan, #5; From Beowulf, #3; The Rime of the Ancient Mariner, #5; Dover Beach, #3; Shakespeare in the Cinema, #3

pp. 65−67; 75−76; 84−86; 94–95

4.1.3.6 develop content consistent with form and appropriate to context [for example, link questions and answers when reporting the results of an interview]

Write Me Sometime, p. 45, #3; Outside Edges, p. 59, #3; The Winner, p. 108, #3; Was It a Dream? p. 154, #3; From No Great Mischief, p. 162, #3; Short Fiction Wrap-Up, p. 163, #3; Chameleons and Codas, p. 228, #3; Look What I Found, p. 364, #2; Essays, Articles, and Media Wrap-Up, p. 429, #3, #4; Media on Media: Activities, p. 451, #3; Shakespeare: Activities, p. 700, #2

Easter at My Aunt’s, #5; Mazes, #4; Ka-Ching! #5; The Not-So-Deadly Sin, #5; The Death of History Is Bunk, #4; The Humpback of Notre Dame, #4; The News, #2; Is the Pathetic Fallacy True? #5; foremother, #5

pp. 49; 112; 116; 119; 121; 125; 335−338

4.1.4 Use production, publication and presentation strategies and technologies consistent with context 4.1.4.1 meet particular production, publication and display requirements for print texts [for example, adhere to a particular manuscript style] and explain requirements in light of purpose, audience and situation

Short Fiction Wrap-Up, p. 163, #3; Elegy in Stone, p. 235, #3; The Sixth Flight, p. 344, #2; Essays, Articles, and Media Wrap-Up, p. 429, #2, #4; Argument and Persuasion: Activities, p. 475, #2; Poetry Wrap-Up, p. 611, #4; Drama Wrap-Up, p. 655, #4

The Shining Houses, #5; Windows, #5; A Modest Proposal, #4; Get Beyond Babel, #5; Paradise, a Poet, and Promised Land, #5; Hockey Night in Port Hawkesbury, #4; The Sixth Flight, #5; The Poetry of Earth and Sky, #5; Canada: A Virtual History, #3; Unzipped, #4; The Monkey’s Paw, #5; Restoring Life on the Edge, #5; The News, #3; The Committee to Upgrade Celestial Signs, #4; foremother, #5; Musée des Beaux Arts, #5; Summer Night, #4; The Rime of the Ancient Mariner, #5; Stop! #5

pp. 62; 95−96; 201−204; 331−334

4.1.4.2 adapt presentation strategies to suit changes in purpose, audience and situation

From No Great Mischief, p. 162, #3; Chameleons and Codas, p. 228, #3; Argument and Persuasion: Activities, p. 475, #2

The Winner, #4; Was It a Dream? #2; Unzipped, #5; The Humpback of Notre Dame, #4; Restoring Life on the Edge, #5

pp. 321−324

20


Points ELA 30-1 Outcomes 4.1.4.3 develop and deliver oral, visual and multimedia presentations, using voice production factors [such as volume, tone and stress], nonverbal factors [such as gestures, posture, distance and eye contact] and visual production factors [such as colour and contrast] appropriate to purpose, audience and situation

The Rocking-Horse Winner, p. 35, #2; The Shining Houses, p. 73, #3; Magpies, p. 95, #3; Peace and War, p. 141, #3; Mazes, p. 149, #3; Was It a Dream? p. 154, #3; From No Great Mischief, p. 162, #3; Short Fiction Wrap-Up, p. 163, #2, #4; Universal Themes and Patterns: Activities, p. 193, #1, #2; Ka-Ching! p. 208, #3; Chameleons and Codas, p. 228, #3; Why I Write, p. 271, #3; Call of the Weird, p. 282, #3; Get Beyond Babel, p. 299, #3; Paradise, a Poet, and Promised Land, p. 330, #2; Ours by Design, p. 363, #3; The Poetry of Earth and Sky, p. 370, #2; Essays, Articles, and Media Wrap-Up, p. 429, #3, #4; Media on Media: Activities, p. 451, #1, #2, #3; Argument and Persuasion: Activities, p. 475, #4; Is the Pathetic Fallacy True? p. 483, #2; The Heroes You Had as a Girl, p. 506, #2; foremother, p. 510, #1; Poetry Wrap-Up, p. 611, #1; A Marriage Proposal, p. 633, #3; From Acoose: Man Standing Above Ground, p. 639, #3; Dead Parrot, p. 654, #2; Drama Wrap-Up, p. 655, #2; Shakespeare: Activities, p. 700, #2, #3

The Rocking-Horse Winner, #3; Calgary from Sunnyside, #5; A Devoted Son, #5; Magpies, #5; The Winner, #4; Peace and War, #5; The Spirit of Haida Gwaii, #2, #5; Mazes, #5; Was It a Dream? #2; The Hero’s Adventure, #2; Afternoon of an American Boy, #4; My Mother’s Blue Bowl, #1, #4; Call of the Weird, #5; A Modest Proposal, #4, #5; Get Beyond Babel, #4; Wanderers by Choice, #5; Slide to Entropy, #4; Hockey Night in Port Hawkesbury, #3, #5; A Chat with Al Purdy, #1; Ours by Design, #2, #3; Look What I Found, #3; The Poetry of Earth and Sky, #5; Canada: A Virtual History, #4; Unzipped, #5; The Humpback of Notre Dame, #4, #5; Morty Mania, #5; The Monkey’s Paw, #5; Restoring Life on the Edge, #5; Aphorisms, #3; The News, #2; King Zog’s Birthday, #2; almost visible, #3; Let’s Stop Being Hysterical, #3; Our Water Sovereignty Is at Risk, #1, #3; Evening, #4, #5; The Committee to Upgrade Celestial Signs, #2, #4, #5; The Heroes You Had as a Girl, #3; foremother, #3; to you who would wage war against me, #3, #5; People on the Bridge, #5; Afternoons & Coffeespoons, #5; From Beowulf, #5; From The Canterbury Tales, #3, #4; Sonnet 116, #5; A Poison Tree, #4, #5; A Marriage Proposal, #4; Set Design for The Foreigner, #4; Dead Parrot, #4, #5; From Strong Women Prevail in Shakespeare’s Comedies, #2

pp. 4−8; 321−324

4.1.4.4 create rapport with an audience, by selecting from a broad repertoire of effective strategies

The Shining Houses, p. 73, #3; Magpies, p. 95, #3; From No Great Mischief, p. 162, #3; Short Fiction Wrap-Up, p. 163, #2; Universal Themes and Patterns: Activities, p. 193, #2; Of Youth and Age, p. 261, #1; Get Beyond Babel, p. 299, #3; Ours by Design, p. 363, #3; Argument and Persuasion: Activities, p. 475, #3; Drama Wrap-Up, p. 655, #2; Shakespeare: Activities, p. 700, #2, #3

The Rocking-Horse Winner, #3; The Winner, #4; The Spirit of Haida Gwaii, #2, #5; Mazes, #5; Was It a Dream? #2; My Mother’s Blue Bowl, #4; Call of the Weird, #5; A Modest Proposal, #5; Get Beyond Babel, #4; Wanderers by Choice, #5; Slide to Entropy, #4; Hockey Night in Port Hawkesbury, #5; A Chat with Al Purdy, #1; Ours by Design, #2; Unzipped, #5; Our Water Sovereignty Is at Risk, #1; People on the Bridge, #5; From Beowulf, #5; Sonnet 116, #5; A Poison Tree, #4; Dead Parrot, #5

pp. 5−8; 324

4.2 Improve thoughtfulness, effectiveness and correctness of communication 4.2.1 Enhance thought and detail 4.2.1.1 assess the appropriateness and significance of the controlling idea or desired unifying effect of a text in progress; and refine the controlling idea or desired unifying effect as appropriate to meet the intended purpose

Write Me Sometime, p. 45, #3; Was It a Dream? p. 154, #3; A Modest Proposal, p. 633, #3; Wanderers by Choice, p. 312, #1; Essays, Articles, and Media Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #1; Shakespeare: Activities, p. 700, #4

The Winner, #1; Migrant Mother, #3; A Chat with Al Purdy, #5

pp. 87−89; 94

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Points ELA 30-1 Outcomes 4.2.1.2 review the accuracy, specificity, precision, vividness and relevance of details, events, images, facts or other data intended to support a controlling idea or to develop a unifying effect; and add to, modify or delete details, events, images, facts or other data as needed to provide complete and effective support or development

Write Me Sometime, p. 45, #3; Magpies, p. 95, #2; Windows, p. 117, #2; Mazes, p. 149, #3; Short Fiction Wrap-Up, p. 163, #1, #3; Universal Themes and Patterns: Activities, p. 193, #3, #4; Elegy in Stone, p. 235, #3; The Death of the Moth, p. 241, #3; Slide to Entropy, p. 326, #3; A Chat with Al Purdy, p. 353, #3; The Monkey’s Paw, p. 404, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #1; The Committee to Upgrade Celestial Signs, p. 502, #2; A Modest Proposal, p. 633, #3; Shakespeare: Activities, p. 700, #4

Calgary from Sunnyside, #4; Twisted Roots, #5; The Winner, #1, #5; The Hero’s Adventure, #3; Afternoon of an American Boy, #2; My Mother’s Blue Bowl, #4, #5; Migrant Mother, #3; A Modest Proposal, #3; A Chat with Al Purdy, #5; Morty Mania, #4; Aphorisms, #2; almost visible, #2; Our Water Sovereignty Is at Risk, #1; Engineers’ Corner, #5; foremother, #4; Summer Night, #3; A Poison Tree, #5; Dover Beach, #3

pp. 62; 95; 327–335

4.2.1.3 assess reasoning for logic; and assess evidence for consistency, completeness and relevance

Write Me Sometime, p. 45, #3; Magpies, p. 95, #2; Windows, p. 117, #2; Short Fiction Wrap-Up, p. 163, #1; Of Youth and Age, p. 261, #1; Call of the Weird, p. 282, #3; Get Beyond Babel, p. 299, #3; Wanderers by Choice, p. 312, #1; A Chat with Al Purdy, p. 353, #3; Ours by Design, p. 363, #3; The Monkey’s Paw, p. 404, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Argument and Persuasion: Activities, p. 475, #1, #3; Poetry Wrap-Up, p. 611, #4; Dead Parrot, p. 654, #3; Shakespeare: Activities, p. 700, #2, #4

Write Me Sometime, #5; The Shining Houses, #5; The Winner, #1; Was It a Dream? #2; The Hero’s Adventure, #3; Afternoon of an American Boy, #2; My Mother’s Blue Bowl, #4, #5; Migrant Mother, #3; Get Beyond Babel, #5; The Death of History Is Bunk, #5; Wanderers by Choice, #5; A Chat with Al Purdy, #5; Ours by Design, #2; Unzipped, #4; Morty Mania, #4; Aphorisms, #2; Giant Database Is Ripe for Abuse, #3; Our Water Sovereignty Is at Risk, #1; vancouver–courtenay–calgary, #1: Fern Hill, #5; The Committee to Upgrade Celestial Signs, #5; I, Icarus, #5; A Poison Tree, #4

pp. 62; 216−218

4.2.1.4 strengthen reasoning as needed, by adding to, modifying or deleting details to provide significant evidence and make effective and convincing arguments

Write Me Sometime, p. 45, #3; Magpies, p. 95, #2; The Winner, p. 108, #3; Windows, p. 117, #2; From No Great Mischief, p. 162, #3; Short Fiction Wrap-Up, p. 163, #1, #2; Of Youth and Age, p. 261, #1; A Modest Proposal, p. 293, #3; Get Beyond Babel, p. 299, #3; Wanderers by Choice, p. 312, #1; Ours by Design, p. 363, #3; The Monkey’s Paw, p. 404, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #1; Poetry Wrap-Up, p. 611, #4; Dead Parrot, p. 654, #3; Shakespeare: Activities, p. 700, #2, #4

Write Me Sometime, #5; The Shining Houses, #5; The Winner, #1; Was It a Dream? #2; My Mother’s Blue Bowl, #4, #5; A Modest Proposal, #3; The Death of History Is Bunk, #5; Unzipped, #4; Morty Mania, #4; Giant Database Is Ripe for Abuse, #3; Our Water Sovereignty Is at Risk, #1; vancouver–courtenay–calgary, #1; The Committee to Upgrade Celestial Signs, #5; I, Icarus, #5; A Poison Tree, #4

pp. 62; 216−218

4.2.1.5 assess the plausibility and appropriateness of literary interpretations and the preciseness, completeness and relevance of evidence when reviewing and revising critical/analytical responses to literature

Write Me Sometime, p. 45, #3; Magpies, p. 95, #2; The Winner, p. 108, #3; Windows, p. 117, #2; Short Fiction Wrap-Up, p. 163, #1; Universal Themes and Patterns: Activities, p. 193, #2, #4; The Death of the Moth, p. 241, #3; A Chat with Al Purdy, p. 353, #3; The Monkey’s Paw, p. 404, #2; The Committee to Upgrade Celestial Signs, p. 502, #2

War, #5; The Hero’s Adventure, #3; Araby from Dubliners, #3; Ka-Ching! #3; Afternoon of an American Boy, #5; A Place to Stand On, #5; A Modest Proposal, #3; Morty Mania, #4; Giant Database Is Ripe for Abuse, #3; Prairie Flight, #3; The Heroes You Had as a Girl, #4; to you who would wage war against me, #2; From Beowulf, #3; From The Canterbury Tales, #5; O Can You Leave Your Native Land? #5; Dover Beach, #3; Because I Could Not Stop for Death—, #5

pp. 62; 75−76; 81−86

4.2.2 Enhance organization 4.2.2.1 make revisions as needed to ensure that the beginning of a text in progress [for example, the rhetorical question or anecdote used to begin a speech, or the establishing shot of a video] establishes purpose and engages audience

Short Fiction Wrap-Up, p. 163, #1, #4; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Hockey Night in Port Hawkesbury, p. 335, #3; Buying Your Next Synthesizer, p. 348, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #1, #4; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #2, #4

Calgary from Sunnyside, #4; Magpies, #4; The Spirit of Haida Gwaii, #4; Guy Lafleur, #5; My Mother’s Blue Bowl, #4; The Not-So-Deadly Sin, #5; Get Beyond Babel, #5; Giant Database Is Ripe for Abuse, #3; A Poison Tree, #4; The Rime of the Ancient Mariner, #4

pp. 89; 95; 119; 121; 143; 225; 264

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Points ELA 30-1 Outcomes 4.2.2.2 assess the organizational components of a text in progress, and revise them as needed to strengthen their effectiveness as units of thought or experience or to strengthen their contribution to other intended effects [such as emphasis or transition]

Short Fiction Wrap-Up, p. 163, #1, #4; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; My Mother’s Blue Bowl, p. 255, #3; Call of the Weird, p. 282, #2; Buying Your Next Synthesizer, p. 348, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #1, #4; Stop! p. 649, #3; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #2, #4

Calgary from Sunnyside, #4; Magpies, #4; The Spirit of Haida Gwaii, #4; Afternoon of an American Boy, #2; A Place to Stand On, #5; Guy Lafleur, #5; The Not-So-Deadly Sin, #5; Giant Database Is Ripe for Abuse, #3; The Heroes You Had as a Girl, #4; Progress, #5; Summer Night, #4; Mu-lan, #5; A Poison Tree, #4; The Rime of the Ancient Mariner, #4; A Marriage Proposal, #5

pp. 62; 144−145; 152; 190−193; 259−261

4.2.2.3 assess the closure of a text in progress; and revise it as needed to ensure that it is related to purpose, that it establishes a sense of developed understanding, and that it will have an appropriate effect on audience

Short Fiction Wrap-Up, p. 163, #1, #4; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Buying Your Next Synthesizer, p. 348, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #1, #4; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #2, #4

Calgary from Sunnyside, #4; Magpies, #4; The Spirit of Haida Gwaii, #4; Guy Lafleur, #5; My Mother’s Blue Bowl, #4; The Not-So-Deadly Sin, #5; The Sixth Flight, #3; Giant Database Is Ripe for Abuse, #3; The Heroes You Had as a Girl, #4; Mu-lan, #5; A Poison Tree, #4; The Rime of the Ancient Mariner, #4

pp. 95; 144−145

4.2.2.4 apply the concepts of unity and coherence to ensure the effective organization of oral, print, visual and multimedia texts

Short Fiction Wrap-Up, p. 163, #1, #4; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Call of the Weird, p. 282, #2; Paradise, a Poet, and Promised Land, p. 330, #2; Hockey Night in Port Hawkesbury, p. 335, #3; Buying Your Next Synthesizer, p. 348, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #1, #4; Amiri Baraka, p. 498, #1; Stop! p. 649, #3; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #2, #4

Calgary from Sunnyside, #4; Magpies, #4; The Spirit of Haida Gwaii, #4; Afternoon of an American Boy, #2; A Place to Stand On, #5; Guy Lafleur, #5; The Not-So-Deadly Sin, #5; A Chat with Al Purdy, #5; The Poetry of Earth and Sky, #4; Giant Database Is Ripe for Abuse, #3; Engineers’ Corner, #5; People on the Bridge, #4; Summer Night, #4; Mu-lan, #5; The Rime of the Ancient Mariner, #4

pp. 56; 62; 95; 138−139; 195

4.2.3 Consider and address matters of choice 4.2.3.1 reflect on personal vocabulary and repertoire of stylistic choices and on their effectiveness; and expand vocabulary and repertoire of stylistic choices

Outside Edges, p. 59, #2; Portrait of the Essay as a Warm Body, p. 204, #3; Ka-Ching! p. 208, #3; Elegy in Stone, p. 235, #3; My Mother’s Blue Bowl, p. 255, #3; Wanderers by Choice, p. 312, #2; Hockey Night in Port Hawkesbury, p. 335, #3; Essays, Articles, and Media Wrap-Up, p. 429, #2; Argument and Persuasion: Activities, p. 475, #1; grammar poem, p. 547, #2; Poetry Wrap-Up, p. 611, #3; Film Location for Random Passage, p. 640, #2; Shakespeare: Activities, p. 700, #4

The Rocking-Horse Winner, #5; Calgary from Sunnyside, #3; The Shining Houses, #4; The Winner, #5; Mazes, #3; The Hero’s Adventure, #1; Portrait of the Essay as a Warm Body, #3; The Death of the Moth, #5; Of Youth and Age, #3, #4; Get Beyond Babel, #3; Paradise, a Poet, and Promised Land, #4; The Sixth Flight, #4; Look What I Found, #4; almost visible, #3; Our Water Sovereignty Is at Risk, #2; From Water, #3; Is the Pathetic Fallacy True? #5; vancouver–courtenay–calgary, #4; foremother, #1; to you who would wage war against me, #4; People on the Bridge, #2; Progress, #5; The Love Song of J. Alfred Prufrock, #4; A Poison Tree, #4; Because I Could Not Stop for Death—, #1; A Marriage Proposal, #3; Stop! #3; Dead Parrot, #2

pp. 50; 111; 150−151; 153; 156−157; 326−330

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Points ELA 30-1 Outcomes 4.2.3.2 assess the appropriateness and effectiveness of diction, and revise word choice as needed to create intended effects

Outside Edges, p. 59, #2, #3; War, p. 137, #3; Was It a Dream? p. 154, #3; Short Fiction Wrap-Up, p. 163, #2, #3, #4; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Elegy in Stone, p. 235, #3; My Mother’s Blue Bowl, p. 255, #3; A Modest Proposal, p. 293, #3; Paradise, a Poet, and Promised Land, p. 330, #3; Hockey Night in Port Hawkesbury, p. 335, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Argument and Persuasion: Activities, p. 475, #1; Amiri Baraka, p. 498, #1; Poetry Wrap-Up, p. 611, #3; Drama Wrap-Up, p. 655, #2; Shakespeare: Activities, p. 700, #4

Write Me Sometime, #4; Peace and War, #4, #5; Mazes, #4; The Hero’s Adventure, #1; Ode to the West Wind, #3; Araby from Dubliners, #3; Afternoon of an American Boy, #2, #3; The Death of the Moth, #5; Hockey Night in Port Hawkesbury, #5; A Chat with Al Purdy, #5; Look What I Found, #4; Shower at Ohashi Bridge, #3; Evening, #5; vancouver–courtenay–calgary, #4; The Committee to Upgrade Celestial Signs, #5; foremother, #4; to you who would wage war against me, #4; I, Icarus, #4; People on the Bridge, #2, #5; Progress, #5; The Love Song of J. Alfred Prufrock, #4; The River, #2; A Marriage Proposal, #3, #5; From Acoose: Man Standing Above Ground, #3; Stop! #5; Dead Parrot, #3; Invisible Genius, #2; Saloonio, #3

pp. 50; 150−151; 326−330

4.2.3.3 assess syntax for appropriateness and effectiveness, and revise sentence structures as needed to create intended effects

Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Portrait of the Essay as a Warm Body, p. 204, #3; Paradise, a Poet, and Promised Land, p. 330, #3; Hockey Night in Port Hawkesbury, p. 335, #3; Unzipped, p. 389, #2; Essays, Articles, and Media Wrap-Up, p. 429, #1; Argument and Persuasion: Activities, p. 475, #1; Poetry Wrap-Up, p. 611, #3; Drama Wrap-Up, p. 655, #2; Shakespeare: Activities, p. 700, #4

Write Me Sometime, #4; From No Great Mischief, #4; Araby from Dubliners, #3; Of Youth and Age, #3; From Water, #2; vancouver–courtenay–calgary, #4; The Committee to Upgrade Celestial Signs, #5; Progress, #5; The Love Song of J. Alfred Prufrock, #4; A Marriage Proposal, #5; From Acoose: Man Standing Above Ground, #2, #3; Dead Parrot, #3; Saloonio, #3

pp. 150−151; 326−330; 366−367

4.2.3.4 explain how stylistic techniques and rhetorical devices are used to create intended effects

War, p. 137, #2; Portrait of the Essay as a Warm Body, p. 204, #3; Ka-Ching! p. 208, #3; Elegy in Stone, p. 235, #3; My Mother’s Blue Bowl, p. 255, #3; Call of the Weird, p. 282, #3; A Modest Proposal, p. 293, #3; Wanderers by Choice, p. 312, #2; Paradise, a Poet, and Promised Land, p. 330, #3; Hockey Night in Port Hawkesbury, p. 335, #3; Shower at Ohashi Bridge, p. 368, #2; Argument and Persuasion: Activities, p. 475, #2; Drama Wrap-Up, p. 655, #2

Write Me Sometime, #4; The Winner, #5; Peace and War, #5; From No Great Mischief, #4; Portrait of the Essay as a Warm Body, #3; Afternoon of an American Boy, #2; Of Youth and Age, #4; A Chat with Al Purdy, #5; almost visible, #2; vancouver–courtenay–calgary, #4; foremother, #4; I, Icarus, #2; A Poison Tree, #4; A Marriage Proposal, #5

pp. 116; 119; 150−151; 166; 248−249; 326−330

4.2.3.5 develop a repertoire of stylistic choices that contribute to personal voice

Portrait of the Essay as a Warm Body, p. 204, #3; My Mother’s Blue Bowl, p. 255, #2; Wanderers by Choice, p. 312, #2; grammar poem, p. 547, #2

The Winner, #5; The Death of the Moth, #5; Of Youth and Age, #3, #4; Look What I Found, #4; Is the Pathetic Fallacy True? #5; Fern Hill, #5; The Committee to Upgrade Celestial Signs, #5; foremother, #4; to you who would wage war against me, #4; The Love Song of J. Alfred Prufrock, #4; Dead Parrot, #3

pp. 52; 68−73; 150; 170; 326−330

4.2.4 Edit text for matters of correctness 4.2.4.1 use handbooks and other tools [such as dictionaries and thesauri] as aids to text creation, including electronic tools as appropriate

All writing activities, including: Short Fiction Wrap-Up, p. 163, #1, #3; Universal Themes and Patterns: Activities, p. 193, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1, #2, #4; Argument and Persuasion: Activities, p. 475, #1; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #4

All writing activities, including: Mazes, #3; Araby from Dubliners, #3; Portrait of the Essay as a Warm Body, #3; Paradise, a Poet, and Promised Land, #4; The Monkey’s Paw, #5; Our Water Sovereignty Is at Risk, #2; grammar poem, #5; Dover Beach, #5; Because I Could Not Stop for Death—, #1

pp. 41; 62; 137; 367−368

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Points ELA 30-1 Outcomes 4.2.4.2 know and be able to apply capitalization and punctuation conventions correctly, including end punctuation, commas, semicolons, colons, apostrophes, quotation marks, hyphens, dashes, ellipses and parentheses

All writing activities, including: Write Me Sometime, p. 45, #3; Short Fiction Wrap-Up, p. 163, #1, #3; Universal Themes and Patterns: Activities, p. 193, #3, #4; Wanderers by Choice, p. 312, #3; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Argument and Persuasion: Activities, p. 475, #1; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #4

All writing activities, including: Outside Edges, #5; Windows, #5; The Hero’s Adventure, #3; My Mother’s Blue Bowl, #5; Paradise, a Poet, and Promised Land, #4; Canada: A Virtual History, #3; Amiri Baraka, #4; From The Canterbury Tales, #5; Sonnet 116, #4; The Rime of the Ancient Mariner, #5

pp. 351−358; 363−365

4.2.4.3 know and be able to apply spelling conventions consistently and independently

All writing activities, including: Short Fiction Wrap-Up, p. 163, #1, #3; Universal Themes and Patterns: Activities, p. 193, #3, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Argument and Persuasion: Activities, p. 475, #1; Shakespeare: Activities, p. 700, #4

All writing activities, including: Outside Edges, #5; The Hero’s Adventure, #3; My Mother’s Blue Bowl, #5; Paradise, a Poet, and Promised Land, #4; Amiri Baraka, #4

pp. 367−368

4.2.4.4 understand the importance of grammatical agreement

All writing activities Amiri Baraka, #4; People on the Bridge, #5

pp. 344−347

4.2.4.5 assess and revise texts in progress to ensure correctness of grammatical agreement, including correct pronoun reference and pronoun–antecedent agreement, and correct use of modifiers and other parts of speech

All writing activities, including: Write Me Sometime, p. 45, #3; Short Fiction Wrap-Up, p. 163, #1, #3; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Argument and Persuasion: Activities, p. 475, #1; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #4

All writing activities, including: Outside Edges, #5; The Hero’s Adventure, #3; My Mother’s Blue Bowl, #5; Amiri Baraka, #4; People on the Bridge, #5

pp. 62; 95; 344−363

4.2.4.6 assess and revise texts in progress to ensure correct subject–verb agreement, correct pronoun case and appropriate consistency of verb tense

All writing activities, including: Short Fiction Wrap-Up, p. 163, #1, #3; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Argument and Persuasion: Activities, p. 475, #1; Drama Wrap-Up, p. 655, #1; Shakespeare: Activities, p. 700, #4

All writing activities, including: Outside Edges, #5; The Hero’s Adventure, #3; My Mother’s Blue Bowl, #5; Amiri Baraka, #4; People on the Bridge, #5

pp. 344−347; 370−371

4.2.4.7 use unconventional punctuation, spelling and sentence structure for effect, when appropriate [for example, use nonstandard spelling to indicate dialect, and use sentence fragments for emphasis, when appropriate]

Essays, Articles, and Media Wrap-Up, p. 429, #4

vancouver–courtenay–calgary, #3; Amiri Baraka, #4; Dead Parrot, #3

pp. 150−151; 384

4.2.4.8 assess and revise texts in progress to ensure the correct use of clauses and phrases, including verbal phrases—participle, gerund and infinitive

All writing activities, including: Short Fiction Wrap-Up, p. 163, #1; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Argument and Persuasion: Activities, p. 475, #1

All writing activities, including: Outside Edges, #5; The Hero’s Adventure, #3; My Mother’s Blue Bowl, #5; Amiri Baraka, #4

pp. 351−352; 358; 372

4.2.4.9 assess and revise texts in progress, as appropriate, to ensure correct use of structural features [such as appositives and parallel structure]

All writing activities, including: Short Fiction Wrap-Up, p. 163, #1; Universal Themes and Patterns: Activities, p. 193, #2, #3, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1, #4; Argument and Persuasion: Activities, p. 475, #1; Shakespeare: Activities, p. 700, #4

All writing activities, including: Outside Edges, #5; My Mother’s Blue Bowl, #5; Amiri Baraka, #4

pp. 357−358

4.2.4.10 pay particular attention to punctuation, spelling, grammar, usage and sentence construction when using unfamiliar vocabulary, complex syntax and sophisticated rhetorical devices

Many writing activities, particularly those involving analytic essays. Short Fiction Wrap-Up, p. 163, #1, #2; Universal Themes and Patterns: Activities, p. 193, #2, #4; Essays, Articles, and Media Wrap-Up, p. 429, #1; Argument and Persuasion: Activities, p. 475, #1; Shakespeare: Activities, p. 700, #4

Many writing activities, particularly those involving analytic essays. Araby from Dubliners, #3; Amiri Baraka, #4

pp. 344−372

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Points ELA 30-1 Outcomes General Outcome 5 – Students will listen, speak, read, write, view and represent to respect, support and collaborate with others. 5.1 Respect others and strengthen community 5.1.1 Use language and image to show respect and consideration 5.1.1.1 monitor own use of language and image in order to convey respect and consideration, as appropriate [for example, use euphemism, implication and gesture appropriately and sensitively]

Universal Themes and Patterns: Activities, p. 193, #4; Elegy in Stone, p. 235, #3; Of Youth and Age, p. 261, #1; Argument and Persuasion: Activities, p. 475, #3

The Shining Houses, #1; A Devoted Son, #5; Wanderers by Choice, #5; Ours by Design, #5; to you who would wage war against me, #1, #3; Summer Night, #5; grammar poem, #4; Mu-lan, #3; A Poison Tree, #4; A Marriage Proposal, #5; Stop! #4

pp. 174; 295; 303

5.1.1.2 explain how language and image are used in texts to convey respectful and considerate, or disrespectful and inconsiderate, perspectives and attitudes

Look What I Found, p. 364, #2; Media on Media: Activities, p. 451, #3; From Beowulf, p. 559, #1

Outside Edges, #3; War, #4; The Spirit of Haida Gwaii, #2; Migrant Mother, #2; Call of the Weird, #2; Ours by Design, #5; to you who would wage war against me, #1, #3; Summer Night, #5; Stop! #4

pp. 149−150; 157; 216

5.1.1.3 explain how stereotyping and parody contribute to the creation of positive and negative portrayals of characters in literature and persons in life, and use stereotyping and parody sensitively and appropriately

Universal Themes and Patterns: Activities, p. 193, #4; Look What I Found, p. 364, #2; From Beowulf, p. 559, #1

The Shining Houses, #1; The Winner, #3; Of Youth and Age, #1; A Modest Proposal, #5; Ours by Design, #2; The Poetry of Earth and Sky, #1; to you who would wage war against me, #1; The Love Song of J. Alfred Prufrock, #4; Mu-lan, #3; Stop! #4

pp. 194; 204; 215−218; 222; 271−272

5.1.1.4 explain how language and image contribute to the inclusion or exclusion of individuals involved in a communication situation, and use language and image that is inclusive of other individuals

Media on Media: Activities, p. 451, #3

Magpies, #2; War, #4; Ours by Design, #2; foremother, #5; to you who would wage war against me, #1; Summer Night, #5; The River, #4; grammar poem, #4

p. 150

5.1.1.5 accept, offer, and appreciate the value of constructive criticism

Magpies, p. 95, #3; Short Fiction Wrap-Up, p. 163, #1, #4; Universal Themes and Patterns: Activities, p. 193, #3; Ka-Ching! p. 208, #3; Elegy in Stone, p. 235, #3; My Mother’s Blue Bowl, p. 255, #3; Call of the Weird, p. 282, #3; Get Beyond Babel, p. 299, #3; Slide to Entropy, p. 326, #3; Paradise, a Poet, and Promised Land, p. 330, #3; Buying Your Next Synthesizer, p. 348, #3; Ours by Design, p. 362, #2, #3; Essays, Articles, and Media: Wrap-Up, p. 429, #1; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #3; Amiri Baraka, p. 498, #1; Poetry Wrap-Up, p. 611, #1; From Acoose: Man Standing Above Ground, p. 639, #3; Drama Wrap-Up, p. 655, #2, #3, #4; Shakespeare: Activities, p. 700, #3

The Rocking-Horse Winner, #2; The Winner, #5; War, #5; The Spirit of Haida Gwaii, #5; Mazes, #5; Was It a Dream? #4; Afternoon of an American Boy, #2; The Death of the Moth, #5; Call of the Weird, #5; A Modest Proposal, #5; Wanderers by Choice, #5; Peace, Technology, and the Role of Ordinary People, #4; Hockey Night in Port Hawkesbury, #5; Landscape with the Fall of Icarus, #5; Unzipped, #4, #5; The News, #3; almost visible, #2, #3; Effective Persuasion, #2; Engineers’ Corner, #5; Fern Hill, #5; The Committee to Upgrade Celestial Signs, #5; foremother, #4; to you who would wage war against me, #4; People on the Bridge, #5; Summer Night, #5; A Poison Tree, #5; Because I Could Not Stop for Death—, #5; A Marriage Proposal, #5; From Acoose: Man Standing Above Ground, #4

pp. 54; 63−64

5.1.1.6 explain, when applicable, how a specific text demonstrates that the parameters of public tolerance regarding the use of language and image have changed over time

A Chat with Al Purdy, p. 353, #2 A Modest Proposal, #5; Ours by Design, #2; Mu-lan, #3; From Strong Women Prevail in Shakespeare’s Comedies, #2

pp. 150−151

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Points ELA 30-1 Outcomes 5.1.2 Appreciate diversity of expression, opinion and perspective 5.1.2.1 identify and describe strategies that may be used to appreciate diversity of thought and expression; select and monitor appropriate strategies for appreciating diversity; modify selected strategies as needed

The Monkey’s Paw, p. 404, #3; Argument and Persuasion: Activities, p. 475, #3

Calgary from Sunnyside, #5; The Shining Houses, #1; A Devoted Son, #5; Call of the Weird, #4; Ours by Design, #2, #3; foremother, #5

pp. 14−15

5.1.2.2 explain how selected works of literature and other print and nonprint texts convey, shape and, at times, challenge individual and group values and behaviours

Universal Themes and Patterns: Activities, p. 193, #4; A Modest Proposal, p. 293, #2; The Sixth Flight, p. 344, #3; The Monkey’s Paw, p. 404, #3; Restoring Life on the Edge, p. 421, #1; From The Canterbury Tales, p. 569, #2; Poetry Wrap-Up, p. 611, #3; A Marriage Proposal, p. 633, #3; Dead Parrot, p. 654, #3

Calgary from Sunnyside, #5; Magpies, #2; Peace and War, #3; The Spirit of Haida Gwaii, #1; My Mother’s Blue Bowl, #4; Migrant Mother, #2; Call of the Weird, #2, #4; A Modest Proposal, #5; Get Beyond Babel, #4; Wanderers by Choice, #3; Ours by Design, #1, #3; Amiri Baraka, #3; The Committee to Upgrade Celestial Signs, #5; The Heroes You Had as a Girl, #3, #4; foremother, #5; Summer Night, #5; The River, #5; O Can You Leave Your Native Land? #4; Dover Beach, #4, #5; From Acoose: Man Standing Above Ground, #5; Stop! #5; From Strong Women Prevail in Shakespeare’s Comedies, #2

pp. 110−111; 188−189; 205

5.1.2.3 explain how a text creator’s underlying assumptions influence his or her ideas, opinions and selection of supporting details

Universal Themes and Patterns: Activities, p. 193, #4; Elegy in Stone, p. 235, #2; A Modest Proposal, p. 293, #2; The Sixth Flight, p. 344, #3; Media on Media: Activities, p. 451, #3; From The Canterbury Tales, p. 569, #2; Poetry Wrap-Up, p. 611, #3; Dead Parrot, p. 654, #3

Calgary from Sunnyside, #5; Magpies, #2; Migrant Mother, #5; Call of the Weird, #2; Get Beyond Babel, #4; Wanderers by Choice, #3; Ours by Design, #3; Amiri Baraka, #3; The Heroes You Had as a Girl, #3; foremother, #5; to you who would wage war against me, #2; The River, #5; O Can You Leave Your Native Land? #4; Dover Beach, #5; Stop! #5; From Strong Women Prevail in Shakespeare’s Comedies, #2

pp. 215−218; 222; 271−272

5.1.3 Recognize accomplishments and events 5.1.3.1 use language and image to congratulate and honour others [for example, celebrate together when classmates have accomplished a particular task or produced, published or presented a particular text]

Elegy in Stone, p. 235, #3

Calgary from Sunnyside, #5; Magpies, #5; Elegy in Stone, #4

p. 169

5.1.3.2 describe various means by which language and image are used appropriately to honour people and to celebrate events, and explain how these means of using language and image help to build community

Elegy in Stone, p. 235, #3

Calgary from Sunnyside, #5; Magpies, #5; Elegy in Stone, #4; Call of the Weird, #4; Ours by Design, #1

pp. 252−254

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Points ELA 30-1 Outcomes 5.2 Work within a group 5.2.1 Cooperate with others, and contribute to group processes 5.2.1.1 set appropriate personal goals for participation in a group; and share personal knowledge, expertise and perspectives with others, as appropriate

The Shining Houses, p. 73, #3; Magpies, p. 95, #3; The Death of History Is Bunk, p. 305, #3; Peace, Technology, and the Role of Ordinary People, p. 322, #3; Ours by Design, p. 363, #3; Essays, Articles, and Media Wrap-Up, p. 429, #4; Media on Media: Activities, p. 451, #3, #4; Argument and Persuasion: Activities, p. 475, #3, #4; The Heroes You Had as a Girl, p. 506, #1, #2; The Love Song of J. Alfred Prufrock, p. 538, #2; Dover Beach, p. 607, #1; Poetry Wrap-Up, p. 611, #4; Drama Wrap-Up, p. 655, #3; Shakespeare: Activities, p. 700, #3

Magpies, #5; Was It a Dream? #5; Afternoon of an American Boy, #4; My Mother’s Blue Bowl, #4; Migrant Mother, #1; The Not-So-Deadly Sin, #3; A Modest Proposal, #5; Hockey Night in Port Hawkesbury, #5; Buying Your Next Synthesizer, #4; A Chat with Al Purdy, #1, #4; Unzipped, #4, #5; Restoring Life on the Edge, #5; Aphorisms, #3; The News, #3; King Zog’s Birthday, #2; almost visible, #3; Engineers’ Corner, #4; foremother, #3; Musée des Beaux Arts, #4; From Beowulf, #5; Sonnet 116, #2; A Poison Tree, #5; A Marriage Proposal, #5; Set Design for The Foreigner, #5; From Acoose: Man Standing Above Ground, #5; From Hamlet, #2

pp. 14; 54−55; 59–60; 285

5.2.1.2 reflect on and describe strategies used to negotiate with, coordinate with and cooperate with others; select appropriate strategies for negotiating with, coordinating with and cooperating with others; monitor selected strategies; and modify selected strategies as needed to accomplish group goals

The Shining Houses, p. 73, #3; Magpies, p. 95, #3; Was It a Dream? p. 154, #3; Short Fiction Wrap-Up, p. 163, #4; The Death of History Is Bunk, p. 305, #3; Ours by Design, p. 363, #3; Essays, Articles, and Media Wrap-Up, p. 429, #4; Media on Media: Activities, p. 451, #3, #4; Argument and Persuasion: Activities, p. 475, #3, #4; The Heroes You Had as a Girl, p. 506, #1, #2; The Love Song of J. Alfred Prufrock, p. 538, #2; Poetry Wrap-Up, p. 611, #4; Drama Wrap-Up, p. 655, #3; Shakespeare: Activities, p. 700, #3

Calgary from Sunnyside, #5; Easter at My Aunt’s, #4; Was It a Dream? #5; Afternoon of an American Boy, #4; My Mother’s Blue Bowl, #4; Migrant Mother, #1; A Modest Proposal, #5; Hockey Night in Port Hawkesbury, #5; Buying Your Next Synthesizer, #4; A Chat with Al Purdy, #1, #4; Unzipped, #4, #5; Restoring Life on the Edge, #5; Aphorisms, #3; The News, #3; King Zog’s Birthday, #2; almost visible, #3; Engineers’ Corner, #4; From Beowulf, #5; Sonnet 116, #2; A Poison Tree, #5; A Marriage Proposal, #5; From Acoose: Man Standing Above Ground, #5

pp. 6; 14; 302; 305; 319

5.2.2 Understand and evaluate group processes 5.2.2.1 develop and use criteria to understand, appraise and monitor group processes [such as divisions of labour and time management]

The Shining Houses, p. 73, #3; Media on Media: Activities, p. 451, #3, #4; Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #4; Shakespeare: Activities, p. 700, #3

Calgary from Sunnyside, #5; Migrant Mother, #1; A Modest Proposal, #5; Hockey Night in Port Hawkesbury, #5; Restoring Life on the Edge, #5; The News, #3; King Zog’s Birthday, #2; A Poison Tree, #5; Set Design for The Foreigner, #5; Dead Parrot, #5

pp. 283−284

5.2.2.2 analyze and explain the interplay among the roles adopted by group members

Short Fiction Wrap-Up, p. 163, #4; Media on Media: Activities, p. 451, #3, #4; Poetry Wrap-Up, p. 611, #4; Shakespeare: Activities, p. 700, #3

Calgary from Sunnyside, #5; Magpies, #5; Migrant Mother, #1; A Modest Proposal, #5; Hockey Night in Port Hawkesbury, #5; A Chat with Al Purdy, #1; Restoring Life on the Edge, #5; King Zog’s Birthday, #2; Engineers’ Corner, #4; Sonnet 116, #2; Dead Parrot, #5

pp. 14−15; 59−60; 285; 318−320

5.2.2.3 use and appreciate various means to facilitate completion of group projects

The Shining Houses, p. 73, #3; Was It a Dream? p. 154, #3; Short Fiction Wrap-Up, p. 163, #4; Ours by Design, p. 363, #3; Media on Media: Activities, p. 451, #3, #4; Argument and Persuasion: Activities, p. 475, #4; Poetry Wrap-Up, p. 611, #4; Shakespeare: Activities, p. 700, #3

Calgary from Sunnyside, #5; Afternoon of an American Boy, #4; Migrant Mother, #1; A Modest Proposal, #5; Hockey Night in Port Hawkesbury, #5; Unzipped, #5; The News, #3; King Zog’s Birthday, #2; almost visible, #3; Engineers’ Corner, #4; A Poison Tree, #5; Dead Parrot, #5

pp. 283−284; 310

5.2.2.4 understand and appreciate the function of teamwork tools, and assess the effectiveness of such tools as appropriate

The Shining Houses, p. 73, #3; Media on Media: Activities, p. 451, #3

Magpies, #5; The News, #3; A Poison Tree, #5

pp. 274; 310

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Points ELA 30-1 Outcomes 5.2.2.5 identify, analyze and assess the collaborative processes used by individuals whose careers involve the development and production of literary texts [such as the collaborative relationships of author, illustrator, editor and publisher and of playwright, actor, producer and director]

Short Fiction Wrap-Up, p. 163, #4; Media on Media: Activities, p. 451, #3; Argument and Persuasion: Activities, p. 475, #4; A Marriage Proposal, p. 633, #2; Film Location for Random Passage, p. 640, #2; Shakespeare: Activities, p. 700, #3

Magpies, #5; Afternoon of an American Boy, #4; Hockey Night in Port Hawkesbury, #5; The News, #3; King Zog’s Birthday, #2; almost visible, #3; A Poison Tree, #5

pp. 224; 283

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