Cory Neil

Unit Plan Deconstructionism

Introduction to the Unit:
For this unit, students will be studying the critical lens of Deconstructionism through the reading
of source documents defining and describing the theory which they will then put into practice as we apply
the principles of Deconstruction to our reading of a variety of texts (both literary and film). This will be
our final unit for the semester and most likely the most difficult for the students. In light of this, this unit
plan should be considered to be highly tentative and open to modification as should be deemed necessary
based on the speed at which the students are able to grasp and apply the major concepts of the theory to
their readings. By this I mean simply that while I have planned for the students to have a great deal of
practice applying the theory, it is entirely likely that some of the readings and the film that are planned to
allow the students to apply the theory may need to be replaced with further exploration and discussion of
the principles of the theory itself.
The unit is scheduled to begin on November 17th and will run through the 12th of December with
the final week of the semester being allocated to conferences where we will review their portfolios they
have been developing over the semester and at which time they will be receiving their final grades.
Beginning on the 17th of November, the first half of the class period (approx. 45min) will be dedicated to
wrapping up our unit on Feminist theory, addressing any lingering concerns or questions the students may
have. Following this we will begin with an introduction to the unit on Deconstruction that will include an
introduction to the theory, our reasons and objectives for studying it, the texts we will be reading, and an
initial description of the Guidebook they will be creating for their culminating text for the unit. In light of
this, I feel it is important to point out that the lesson plan for the first day of the unit will include a portion
of time dedicated to closing out the previous unit on Feminist theory and that this is done solely for the
purpose of maintaining a unified schedule throughout the semester and should not be considered a
necessary element of instruction for the unit on Deconstruction.
As you will notice, this unit relies heavily on guided, whole-class inquiry-based discussion. My
reasoning for this is not out of laziness, but rather due to the extremely complicated and highly
philosophical nature of Deconstructionist Theory, source material that describes it in a language that
would be accessible to high school students is scarce and as it is not a subject typically taught at the
secondary level, applicable teaching strategies too are rare. Additionally, as a senior-level elective
English course, it is my personal as well as professional opinion that it is my responsibility to truly
prepare these students for college and life beyond high school where the responsibility to take your own
notes, participate, and be active in your own personal growth and learning are expected immediately.
Too, being the final unit of the semester, scaffolding of the material will likely have run its course by this

time and I feel it is important that the training wheels be completely removed at some point to get an
adequate and honest impression of the effectiveness of my teaching as well as the degree of the students
growth and learning. Finally, being the last unit of the semester, this plan should be viewed as taking into
account any and all modifications and adaptations that the students may require.

Assessments:
Assessment during this unit will largely be informal and ongoing. Teacher observations during
discussions will be a major component of assessment, as will short (nearly) daily writing assignments
exit tickets as well as some beginning of class quick-writes. In addition to these, students will complete
two larger assignments their extended definition essays and the end of the unit Deconstructionist
Guidebook for A Clockwork Orange, both of which will count as summative assessments.

Co-teaching/planning:
Over the course of the semester, despite being afforded the opportunity to work in a PLC to
develop co-teaching and co-planning strategies, due to the make-up of my particular group of colleagues I
was unable to benefit from this opportunity as I would have hoped my concerns, questions, and requests
for ideas and assistance went largely unacknowledged. Despite this, I feel that there are a number of
areas in which this unit, and indeed the entire semester-long course, would and could be greatly benefited
by the input of a cooperating teacher or teachers. Most significantly, I would have liked to collaborate
with a visual arts as well as a digital media teacher for the final portion of the unit studying the film Dead
Man. While I am very familiar with the film, I am not an expert in the genre and I feel that their input and
guidance would be of great benefit to the students. Particularly, I would have liked to have been able to
have the students do serious work deconstructing the visual and cinemagraphic components of the film
and to be able to do so with the correct terminology. If I or the other teacher(s) had been able to supply
the students with the necessary background knowledge prior to viewing the film, I think their experience
of working with it would have increased exponentially. Too, such background knowledge could also
have allowed me to incorporate various still images as well (paintings and photographs).
Too, it goes without question that I would have appreciated the input of another English teacher
that was familiar with Deconstruction to help me select texts that may have been more fun and
challenging for the students to analyze through this lens.

Setting and Context:

The setting and context for this unit are exactly the same as appear on the yearlong plan of which
it is a part. Please refer to the Setting and Context link on the main web page.

Goals:

Students will be able to demonstrate an understanding of the concepts and methods of

Deconstructionist Criticism through their application of it to their reading and analysis of variety
of texts (written and film).

Students will be able to explain the beneficial and problematic outcomes of reading a text through
a Deconstructionist lens and make inferences into the same in other aspects of their lives.

Students will gain an understanding of the importance of reading, writing, and listening carefully
and purposefully and demonstrate that understanding in observable ways.

Students will gain noticeably increased skill in close reading, analytical reasoning, and the careful
and selective use of language.

Students will collaborate effectively and positively in discussion and group activities to further
the learning of the class as a whole.

Students will experience and demonstrate working knowledge of:

o

The Other & The Book of Sand, by Borges (short stories)

A Clockwork Orange, by Burgess (novel, fiction)

Turning, By Susan Howe (poem)

Dead Man, Directed by Jim Jarmusch (Film)

Materials:
Students: Notebooks, loose-leaf paper, writing utensils, copies of texts (see below)
Teacher: Smart board or white board, copies of texts (see below), video projector
Texts:

http://www.iep.utm.edu/deconst/ - Internet Encyclopedia of Philosophy Deconstruction

http://www.shmoop.com/deconstruction/ - Shmoop.com entry on Deconstruction

The Other & The Book of Sand, by Borges (short stories)

A Clockwork Orange, by Burgess (novel, fiction)

Turning, By Susan Howe (poem)

Dead Man, Directed by Jim Jarmusch (Film)

Standards:
1. Oral Expression and Listening:
1.1
Students can:
a. Present information, findings, and supporting evidence, conveying a clear and distinct perspective,
such that listeners can follow the line of reasoning, alternative or opposing perspectives are addressed,
and the organization, development, substance, and style are appropriate to purpose, audience, and a
range of formal and informal tasks. (CCSS: SL.11-12.4)
b. Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in
presentations to enhance understanding of findings, reasoning, and evidence and to add interest.
(CCSS: SL.11-12.5)
c. Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when
indicated or appropriate. (CCSS: SL.11-12.6)
d. Identify a central idea or thesis, organize ideas, and develop a speech for an intended purpose and
audience
e. Choose specific words and word order for intended effect and meaning
f. Select appropriate technical or specialized language
1.2
a. Work with peers to promote civil, democratic discussions and decision-making, set clear goals and
deadlines, and establish individual roles as needed. (CCSS: SL.11-12.1b)
b. Propel conversations by posing and responding to questions that probe reasoning and evidence;
ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and
conclusions; and promote divergent and creative perspectives. (CCSS: SL.11-12.1c)
c. Implement an effective group effort that achieves a goal
d. Participate in the preparations of the group activity or product, defining and assuming individual roles
and responsibilities
e. Assume a leadership role in a group that is collaboratively working to accomplish a goal
f. Selfevaluate roles in the preparation and completion of the group goal
g. Critique and offer suggestions for improving presentations given by own group and other groups
2. Reading for all Purposes:
2.1
Students can:
a. Analyze how an authors choices concerning how to structure specific parts of a text (e.g., the choice
of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its
overall structure and meaning as well as its aesthetic impact. (CCSS: RL.11-12.5)
b. Describe and contrast characteristics of specific literary movements and perspectives
c. Evaluate the influence of historical context on the form, style, and point of view of a written work
d. Analyze and relate a literary work to source documents of its literary period or to critical perspectives
e. Evaluate how literary components impact meaning (such as tone, symbolism, irony, extended
metaphor, satire, hyperbole)
f. Demonstrate knowledge of classical foundational works of world literature
g. By the end of grade 12, read and comprehend literature, including stories, dramas, and poems, at the
high end of the grades 11CCR text complexity band independently and proficiently. (CCSS: RL.1112.10)

2.2
Students can:
a. Determine an authors point of view or purpose in a text in which the rhetoric is particularly effective,
analyzing how style and content contribute to the power, persuasiveness or beauty of the text. (CCSS:
RI.11-12.6)
b. Integrate and evaluate multiple sources of information presented in different media or formats (e.g.,
visually, quantitatively) as well as in words in order to address a question or solve a problem. (CCSS:
RI.11-12.7)
c. Use reading and note-taking strategies (outlining, mapping systems, skimming, scanning, key word
search) to organize information and make connections within and across informational texts
d. Use semantic cues, signal words, and transitions to identify text structures (such as critique,
proposition/support, inductive/deductive) and to summarize central ideas and supporting details
e. Obtain and use information from text and text features (index, bold or italicized text, subheadings,
graphics) to answer questions, perform specific tasks, or identify and solve problems
f. Explain and interpret the visual components supporting the text (maps, complex tables and diagrams,
and transitional devices, such as use of white space)
g. By the end of grade 12, read and comprehend literary nonfiction at the high end of the grades 11
CCR text complexity band independently and proficiently. (CCSS: RI.11-12.10)
3. Writing and Composition:
3.1
Students can:
a. Use a range of elaboration techniques (such as questioning, comparing, connecting, interpreting,

analyzing, or describing) to establish and express point of view and theme

b. Create a clear and coherent, logically consistent structure appropriate to the chosen literary genre

(biographical account, short story, personal narrative, narrative poem or song, parody of particular
narrative style, play script)
c. Develop context, character/narrator motivation, problem/conflict and resolution, and descriptive
details/examples to support and express theme
d. Manipulate elements of style, imagery, tone, and point of view to appeal to the senses and emotions
of the reader
Critique own writing and the writing of others from the perspective of the intended audience to guide
revisions, improve voice and style (word choice, sentence variety, figurative language) and achieve
intended purpose and effect
3.2
Students can:
a. Articulate a position through a sophisticated claim or thesis statement and advance it using evidence,
examples, and counterarguments
b. Select appropriate and relevant information (excluding extraneous details) to set context
c. Address audience needs and anticipate audience questions or misunderstandings
d. Select and build context for language appropriate to content (technical, formal)
e. Control and enhance the flow of ideas through transitional words or phrases appropriate to text
structure
f. Support judgments with substantial evidence and purposeful elaboration
g. Draw a conclusion by synthesizing information
Revise writing using feedback to maximize effect on audience and to calibrate purpose

3.3
Students can:
a. Follow the conventions of standard English to write varied, strong, correct, complete sentences
b. Deliberately manipulate the conventions of standard English for stylistic effect appropriate to the
needs of a particular audience and purpose
c. Seek and use an appropriate style guide to govern conventions for a particular audience and purpose
4. Research and Reasoning:
4.1
Students can:
Define and narrow a topic for self-designed research for a variety of purposes and audiences
Critique research questions of self and others for bias and underlying assumptions
Critique and defend sources and information based on credibility, relevance and appropriateness relative
to context and purpose
d. Design and defend a set of diverse research strategies (e.g. cross-referencing bibliographies, creating
annotated bibliographies, researching source credentials) to identify information appropriate to the
needs of a research question, hypothesis, or thesis statement
e. Critique and defend evidence relative to its use to address a particular context and purpose
Determine and use the appropriate style guide to govern format and documentation of quotations,
paraphrases, and other information from a range of research sources
a.
b.
c.

4.2
Students can:
a.
b.
c.
d.
e.

Synthesize information to support a logical argument

Distinguish between evidence and inferences
Identify false premises or assumptions
Analyze rhetorical devices used in own and others appeals
Summarize ideas that include alternate views, rich detail, well-developed paragraphs, and logical
argumentation

Monday, November 17th

Unit 5, Day 1
:00 :05 Attendance, Housekeeping
:05 :45 Wrap-up of Feminist Theory

Return Book Review final project

Address any lingering questions or concerns

This time is open for students to speak openly and freely regarding the unit on Feminist
theory.

Students are offered to write down any concerns or comments they have regarding the unit
texts, activities, the final project, etc. to be submit to me.

:45 :90 Introduction to Deconstructionism

Introduce the unit (10 min) Title, overview of planned activities and the final project, and the
texts we will be using.

Student quick-write (5 min): On a fresh sheet of paper answer: What comes to mind when you
hear the term Deconstruction? What might this mean in the terms of a critical lens?

Discussion of student responses (~10 min)

Provide a concise definition of Deconstruction and discuss (15 min)

Quick write/ticket out the door (5 min): On the same piece of paper with your response from
earlier, respond to one or more of the following: Why are we studying this critical theory?;
What initial questions or concerns do you have?; How do you anticipate this being useful
outside of this class?

For Homework: Read, take notes, and be prepared to discuss:

http://www.iep.utm.edu/deconst/ - Internet Encyclopedia of Philosophy Deconstruction

o Specifically: Introduction, and Sections 2a & 2b
http://www.shmoop.com/deconstruction/ - Shmoop.com entry on Deconstruction
o Specifically: Introduction and Buzzwords sections

*If time remains, students should use it for Silent Reading.

Tuesday, November 18th

Unit 5, Day 2
:00 :05 Attendance and Housekeeping
:05 :30 Discussion/review of Readings

Internet Encyclopedia of Philosophy Deconstruction

Shmoop.com entry on Deconstruction

:30 - :50 Concept Map of Deconstructionism

As a class, students will create a concept map of the theory

We will identify the major concepts and students will take turns drawing it on a sheet of
poster paper to be displayed in the class.
(If necessary and the activity becomes too chaotic, students will direct me as I draw it. If
possible and the appropriate resources are available, it will be done on the smart board,
saved and printed later.)
*See UBD lesson plan on the next page(s) for a detailed lesson breakdown

:50 - :55 Brain Break!

:55 - :85 Mini Lesson on Semantics

Introduction to semantics and individual/small group practice See Mini Lesson Plan PDF
attachment for details (found beneath this document on the main web page for the unit)

:85 - :90 Closure

Wrap up of the day and introduce activities for Wednesday workshop day for writing their
Extended Definitions on Deconstruction

UbD Lesson Plan Template

Client Organization: Rocky Mountain High School

Telephone:
Main Contact:

Cory Neil

Email Address: neil.cory.s@gmail.com

Date: November 18th, 2014

VITAL INFORMATION
Author
*Subject(s)
Topic or Unit of
Study
*Grade/Level
*Summary

Cory Neil
Modern Literary Perspectives
Deconstructionism Students are studying the critical lens of Deconstruction and
practicing
th
applying
12
Gradeit to a range of texts.
During this lesson, students will be reviewing and discussing their reading from the
previous evening on the major principles of Deconstruction. As a class we will
unpack the complex metalanguage of the theory and work to translate it into
accessible common terms. With this goal accomplished, we will set out to turn this
information into an infographic in the form of a concept map that will be displayed
in the classroom as a point of reference throughout the unit.

STANDARDS
*Standards

1.2.a. Implement an effective group effort that achieves a goal

1.2.b Participate in the preparations of the group activity or product, defining and
assuming individual roles and responsibilities
3.2.c. Address audience needs and anticipate audience questions or
misunderstandings
3.2.d. Select and build context for language appropriate to content (technical,
formal)

UBD (UNDERSTANDING BY DESIGN) LESSON PLAN ELEMENTS REQUIRED:

STAGE 1 DESIRED RESULTS

Established Goals

Understandings
Overarching
Understanding
Related
Misconceptions

Essential Questions

Knowledge

Skills

Students will be able to identify key principles of Deconstructionist Critical Theory.

Students will be able to define and describe Deconstruction succinctly in their own
words using common language accessible to a wide audience.
Students will be able to collaborate effectively to reach a common goal.
Students will be able to discern relevant information from sophisticated technical
texts
~The reading and understanding of complex technical texts requires the ability to
distinguish between pertinent and superfluous information.
~Successful writing requires attention to the needs, understandings, and potential
misconceptions of an intended audience.
~Deconstruction is a valuable tool for close reading.
~Deconstruction is a critical tool for avoiding faults and anticipating misconceptions
in our own writing.
~Deconstruction is not simply a means to undermine and refute a text.
~Deconstruction has uses beyond the field of literary analysis.
What are the main concepts behind Deconstruction?
How can deconstruction enhance my reading and writing?
How can Deconstruction increase my understanding beyond literature and texts?

Students will be able to define and apply the methods of Deconstructionism to their
reading and writing.

Students will increase their skills in close, critical reading.

Students will learn to anticipate and account for possible misconceptions in their
writing and speaking.
Students will learn how to view texts and the world from multiple perspecitves.

UBD (UNDERSTANDING BY DESIGN) LESSON PLAN ELEMENTS REQUIRED:

STAGE 2: Assessment Evidence

Performance Task Description:

What authentic performance tasks will students demonstrate the desired understandings?
Students will demonstrate their understanding of and ability to use Deconstruction by creating a concept map of
the theory in plain language, writing individual extended definitions of the theory, and through their contributions
to group analysis of texts.
By what criteria will performances be judged?
Students will be judged based on their ability to demonstrate cautious anticipation of misconception of their
writing by their use of specific, well defined language. Their ability to apply deconstructionism to a text will be
judged based on their ability to provide alternative interpretations beyond the intended/expected and to support
their interpretations with well-reasoned and justified arguments and evidence.
Through what evidence (e.g. quizzes, tests, academic prompts, observations, homework, journals)
will students demonstrate achievement of the desired results? As a class the students will collaborate to
create a concept map of Deconstructionism for class reference. Later, they will individually produce extended
definition essays on Deconstruction. They will also regularly demonstrate their grasp of the theory through
discussion and analysis of various texts.
How will students reflect upon and self- assess their learning: Reflection will be a daily exercise in the
form of exit tickets. Additionally, all assignments are able to be revised and resubmitted at the end of the unit.

Goal
Role
Audience
Situation

Product/Performance

To collaborate with classmates to reach an understanding of Deconstructionism

Writer, Synthesizer, Interpreter, Collaborator
Peers, Self
Collaborating in Creating a Concept map of Deconstructionism
Concept map and extended definition essay
Standards 1.2.a. 1.2.b. 3.2.c. 3.2.d.

UBD (UNDERSTANDING BY DESIGN) LESSON PLAN ELEMENTS REQUIRED:

STAGE 3: Learning Plan
CCSS.ELA-LITERACY.SL.9-10.4
CCSS.ELA-LITERACY.SL.9-10.4

What learning experiences and instruction will enable students to achieve the
desired results? How will the design:
Where are your students headed? Where have
they been?
How will you make sure the students know where they are going?

This is the final unit of the semester and the students

have already studied several Critical Lenses at this
point and have shown great aptitude for learning them.
The students will know where they will be by the end
of the unit due to a thorough introduction of the goals
for the unit and the reason we are studying
Deconstructionist theory. Throughout the unit I will
consistently check for understanding and focus on the
unit objectives.

How will you hook students at the beginning of the unit?

Hook:
:00 - Today we are going to unpack the complicated
language of Deconstructionism from last nights
reading. By the time we are done you should be able
to doubt everything you thought was real and true!

What events will help students experience and explore the

big idea and questions in the unit?
How will you equip them with needed skills and knowledge?

:01 As a class we will review and discuss the

readings from the previous night, unpacking the
language into something straight-forward. We will go
through the key terms and big ideas and I will provide
real-life examples of how they can be understood and
used. Students will have the opportunity to voice their
own opinions and offer ideas and examples to help
give them ownership over the concepts.

How will you cause students to reflect and rethink? How will
you guide them in rehearsing, revising, and refining their work?

:20 I will pose to them some seemingly common and

straight-forward statements and then deconstruct them
to demonstrate their inherent instability. They will
then have the opportunity to suggest some of their own
and the class will attempt to deconstruct them.

How will you help students to exhibit and self-evaluate their

growing skills, knowledge, and understanding throughout the unit?

:30 As a class we will develop a concept map

highlighting the major tenants of Deconstruction.
While I will provide guidance and support, this is to be
a work of their creation for their own benefit as a
reference source throughout the unit. As we work on
the project, I believe students will grow increasingly
confident and have fun playing with the language and
working with one another to create a poster that they
can understand and are comfortable with.

How will you tailor and otherwise personalize the learning

plan to optimize the engagement and effectiveness of ALL
students, without compromising the goals of the unit?

Due to the difficulty and abstract nature of

Deconstruction, I anticipate moving slowly. I feel I
have structured the lesson and the unit as a whole in
such a way as to allow for students to move at their
own pace while not letting anyone get or feel left
behind. For all of the readings I have come up with a
plethora of inquiry questions that I feel will reach the
entire range of my students. I have approached the
unit as something to play with and have fun with rather
than as something to be stressed over and worry about.

Wednesday, November 19th

Unit 5, Day 3
:00 - :05 Attendance and Housekeeping
:05 - :10 Move class to the computer lab
:10 :75 Workshop time

Students will have the entire class period to work on their extended definitions of
Deconstruction.

Those who finish may turn it in when they do so, those who do not will need to save it so that
they can finish it for homework to be turned in on Thursday.

While in the computer lab, circulate to ensure students are working and to provide any
assistance.

Students may use their notes or any resources they need or see fit to complete the assignment,
but must work independently and each turn in an individual completed draft.

Deconstruction Extended Definition Guidelines

Modern Literary Perspectives
Due by: Thursday, November 20th

Assignment: You are to write an extended definition of Deconstructionism. This is to be an

informative piece of writing that has several audiences and functions. The first of which is
yourself it should function as a reference source for you later as you complete your end of unit
as well as end of semester projects; secondly you will be writing for me, so your paper should
prove to me that you have a solid understanding of Deconstruction and the ability to apply it to
our readings; lastly, you are writing for a hypothetical person who has no knowledge of
Deconstructionism your work should provide them a functional introduction to the theory (this
means you will need to thoroughly explain the jargon (specific language) associated with
Deconstruction.
Length: There is no set length or word count for this assignment; but as always, it should be of
sufficient length to meet the requirements of the assignment and convey your thoughts clearly
and thoroughly.
Expectations: Your finished product should contain the following elements:

The origins of the theory who coined the term / developed the idea, when, and why
(what was it a response to?).

A detailed explanation of the major ideas and principles of Deconstructionism

An explanation of how it functions as a critical lens for literary analysis

A justifiable claim about how it can be applied to areas outside of literary criticism how
it might affect how someone views other aspects of life or the world.

Formatting: As always, papers are to be written in Times New Roman 11pt. with 1.5 spacing.
Scoring: Your papers will be scored according to the following criteria:
Description:
Academic integrity and
professionalism the
assignment is turned in on or
before the set due date, is
presentable, and conforms to
the standards of Academic

Points:

integrity (any included quotes

or paraphrased statements are
properly cited and accredited
to the original author)

/20

All elements of the assignment

are included and adequately
addressed student

/40

demonstrates a thorough
understanding of
Deconstructionism.
Writing is coherent, presenting
a clear and logical flow of
ideas that is appropriate to the
intended audience(s). Jargon
is defined and reader
confusion is anticipated and
accounted for.

/20

Writing is free of spelling and

grammatical errors, and
adheres to the rules of
Standard English usage.

/20

Total Points:

/100

Thursday, November 20th

Unit 5, Day 4
:00 - :05 Attendance and Housekeeping

Collect any Extended Definition Essays not completed on Wednesday

:05 - :45 Deconstruction in Practice

Guided and individual practice in deconstructing familiar metaphors and short sentences
See the accompanying Hunter Lesson Plan for detail of lesson

:45 - :70 In-Class Group Reading and Discussion/Deconstruction

As a class we will do a deconstructionist reading of Jorge Luis Borges The Other

During reading, have students identify 3 phrases, sentences, or passages that they find
to be inherently contradictory or that seem to stop the story that they want to explore
in detail.

Possible questions for discussion:

He says he hopes it will become a story for him as well is it not a story?
Does the re-telling of an event not immediately make it a story? If not, what
could possibly constitute a story for Borges?

On page 2, when the two men begin to speak, and they disagree on the
setting one claims a bench in Cambridge, the other a bench in Geneva
how can this be? What does this contradiction do to the story for you? Can
it, at this point, proceed with any plausibility or meaning?

When they speak of dreams on pg. 3: Is it possible to know for certain that
we are or are not dreaming? Presumably, as a work of fiction, is this story not
a dream itself?

The older Borges makes claims such as: not knowing the number of books
the other will write (pg. 4), but later states that it was his fate to become the
person I am(pg. 8) the first suggests life is not determined and the latter
that it indeed is. Is this possible? It seems, on the surface a clear conflict of
essential beliefs. What does this mean in regards to the reliability of the
story to convey a meaning? Do these contradictions defeat the possibility of
meaning or are they potentially the very point the author is trying to make?
Does a story have to have a meaning to have value?

:70 - :75 Ticket out the door: What would you have to say about this story if we had not
Deconstructed it? Is it even possible to answer this question now that we have?

Hunter Lesson Plan

Class: Modern Literary Perspectives
Unit: 5 - Deconstructionism
Teacher: Cory Neil
Objectives: 1) Students will be able to apply deconstruct common metaphors and short
sentences.
2) Students will be able to provide reasoned justifications for the alternative
interpretations they come up with from their deconstructions.
Standards:
1.2.b. - Propel conversations by posing and responding to questions that probe
reasoning and evidence; ensure a hearing for a full range of positions on a topic
or issue; clarify, verify, or challenge ideas and conclusions; and promote
divergent and creative perspectives. (CCSS: SL.11-12.1c)
2.1.e. - Evaluate how literary components impact meaning (such as tone,
symbolism, irony, extended metaphor, satire, hyperbole)
3.2.a. - Articulate a position through a sophisticated claim or thesis statement
and advance it using evidence, examples, and counterarguments
4.2.b. - Distinguish between evidence and inferences
Materials:
Teacher: Smart Board or White Board; Unpacking Metaphors activity from Critical
Encounters in High School English, Appleman (2000); list of short sentences (provided
below)
Students: Notebooks, writing utensils
Duration: 40 min. allotted
Anticipatory Set:
Now we are going to try our hand at putting Deconstruction into practice by
taking a look at some fairly common-ish metaphors and some short sentences.
Essentially, we are going to destroy language and meaning as we know it
I will begin by walking you through some examples, and then you will have the
opportunity to try a few on your own.
The purpose of this is to give you practice with small pieces of language to see
the possibilities of this lens before we move on to applying it to entire works.
Teaching:
Input
Ask the class to define a metaphor, to ensure understanding of the term and how
it functions.
Define the difference between explicit and implicit meaning

Re-establish that Deconstruction assumes that words have no fixed meaning

outside of the context in which they are used that language can only refer to
other language and so the chain of meaning is endless.
Emphasize that we will be playing with the words but that it does not mean that
anything goes our interpretations must be justifiable.

Modeling
On the board, write out the following:
o Love is a rose.; You are the sunshine of my life.; & That test was a bear.
Under each write: Intended and Unintended
As you fill out the intended meaning of love is precious and delicate and must be
nurtured explain this interpretation and why it is the intended meaning how the
rose is socially and culturally accepted symbol for love and how the association
of the two is based on the assumption that roses and love are both sweet (the
rose in fragrance, love in emotion), and delicate/fragile, and take care and effort
to grow, etc.
But this reading means the author assumes everyone both knows of love as well
as roses, and thinks of them in the same ways.
What if someone has never known love, or has only seen roses as a pesky
weed?
Provide an unintended reading: Like a rose, love is something that will overtake
your garden, climb your walls and ruin your house, and is sharp and thorny and
should be avoided.
And another: Roses literally are Love love is not an emotion or sentiment but
a flower.
Continue to do the same for the remaining statements on the board, providing
unintended interpretations as needed until students understand the concept.
Be sure to explain how if we change a word from a noun to a verb, or from an
abstraction to something concrete, it changes the entire meaning of the phrase
and that although we can make sound assumptions as to the authors intent, we
never have any real basis for such a claim not unless we are directly told so by
the author.
Explain how this is even more likely when the words are only heard and not read.

Checking for Understanding

Ask if students can provide some more unintended interpretations.
Ask them to describe what they think I am doing in each instance.
If not clear, provide further explination.
Questioning Strategies
Who feels they can explain how I came to the interpretations I did?
o Allow for some attempts to explain the process.
What does this mean for us as readers and interpreters of texts?

Which is the correct reading the one the author intended, that we cant really
claim to know, or our own interpretation? Are they equal? Could neither be
correct?

Guided Practice:
Have students suggest some common metaphors for the class to try use your
own discretion as to which should be used. 3 will be sufficient.
Provide some of your own if student suggestions are not adequate.
Provide them the following sentences to try as well:
o This sentence is false.
o What is the answer to this question?
Circulate and check students work and supply help as needed
Have students offer their interpretations for whole-class discussion
Closure:
As you should now be able to see, what we initially assume a sentence or word
to mean is not always the case.
By a thumbs up, down or in between, how well do you feel you understand how
deconstruction works, and how comfortable are you in moving on to doing it on a
larger scale?
We are now going to try to put this into action while we read a short story by
Jorge Luis Borges The Other.
Independent Practice:
Independent practice will take place as we read The Other in class.

Friday, November 21st

Unit 5, Day 5
:00 - :05 Attendance and Housekeeping
:05 - :20 Finish discussion on The Other

Student led discussion (Socratic Seminar) on the textual selections they chose during Thursdays
reading.

This is an opportunity for the students to independently practice Deconstructing a text without
teacher-guided questions.

:20 - :65 In-class reading and Deconstruction of Borges The Book of Sand

As a class we will read and practice Deconstructing the text

Deconstruction will focus less on single words and phrases, but rather on larger passages and
qualities of the text.

To save time, I will read aloud as students follow along

During the reading, students should be noting and marking portions of the text that can be read as
to potentially undermine the meaning of the story or appear contrary to the authors intent.

Possible areas for discussion:

o

The title The Book of Sand can be interpreted in several ways a book made of sand; a
book about sand; or as a book that is like sand in that it is endless, ungraspable, everchanging and shifting. Does this ambiguity from the beginning make the story
immediately less knowable?

What are we meant to think when he claims the story is true immediately after he states
that claiming made-up stories to be true is a common practice? Why would he want to
establish such a degree of doubt at the beginning of the story?

He says he heard a knock at his door, not that there was a knock at his door. Could
this all be a figment of his imagination, or a dream?

What do we make of the language of the book? The narrator can read the spine but not
what is inside. The spine says Bombay but when he asks if the text was Scriptures in
some Indian language, the man says it is not. Is that no, its not Scripture, or no its
not an Indian language or is it neither? If neither or only not Indian, then this conflicts
with the Bombay written on the spine.

If the book is infinite, and the pages are in a completely random order, how could he
possibly figure out that the illustrations come every 2000 pages? Does this not indicate
an order to the book and negate its being random and so like sand?

The title of the book in which this story appears is as well The Book of Sand. Is this
story meant to be about this book itself? What happens when we deconstruct this
relationship?

:65 - :75 Ticket out the Door

Students will respond to the following prompt: The fact that we can and do find meanings in
texts stands in direct contradiction to the major principle of Deconstructionism that texts have no
absolute concrete meanings. Is deconstruction a false theory or are the meanings we find in texts
entirely arbitrary constructs? Or could both be true? Explain your answer.

:75-:90 Distribute Copies and introduce A Clockwork Orange

Pass out student copies of the text

Give a brief book talk about the novella and the author

Assign Part 1, chapters 1-3 for students to read over the weekend

Students should read the text through a deconstructivist lens and make notes of areas of
contradiction, inherent ambiguity, and where the language of the text undermines the story or
author intent.

Students should also begin creating a Nadsat Dictionary of the slang terms in the novel to include
in their Guidebook projects. This is to be their own dictionary, not one found on line.

Monday, November 24th

Unit 5, Day 6
:00 - :10 Attendance and Housekeeping

Return students Extended Definition papers

Address any issues and point out any revisions along with the original and grade sheet should be
placed in their portfolios for the end of the semester.

:10 - :30 Review Nadsat Dictionary terms

Students will work in small groups to review the words they identified and discuss and amend
the definitions/translations they came up with (10 min)

Teacher circulates to assist and check student work

As a class we will run through their lists to make sure everyone has a comprehensive list

Discuss any conflicting translations

:30 - :35 Brain Break!

:35 - :65 Discuss the text

Major points to discuss:

o

Alex his language (sophisticated yet full of wild slang)

Whats it going to be then, eh?

O My Brothers

Repeated words or similar words

Deconstructing Alexs droogies their relationship, why is Dim the second most
depicted character?

The difference in behavior of the gang towards the ladies in the bar (generous, somewhat
polite), vs their behavior otherwise

The book the man was writing sharing the title of the text

The excessive amount of violence in just one evening

Alexs affinity for classical music and violence (are they equal or complementary? What
is the connection?)

:65 - :70 Ticket out the door

Students will reply to: What do you make of Alex so far? Is he at all likable? Does he have
values/principles? Is he a contradiction or just young?

:70 - :90 Silent reading

Students have this time to begin their reading for the night Part 1, chapters 4-7

They should continue taking notes as before and adding to their Nadsat Dictionaries

Tuesday, November 25th

Unit 5, Day 7
MODIFIED LESSON PLAN - Assembly
*note To truly modify this lesson plan I am placing this class at 2nd period when assemblies are
scheduled at RMHS
:00 - :05 Attendance and Housekeeping
50 min ASSEMBLY (9:05 9:55)
10:00 Return to classroom for 50 min class
:00 - :10 Small group work on Nadsat Dictionaries
:10 - :20 Whole class Review of Nadsat terms

Teacher-lead discussion of terms of concern undiscernible language

:20 - :45 Discuss and Deconstruct Chapter 4

Quick write Does Alexs reasoning for his behavior (pp. 39-40) justify it?

Discussion:
o

Discuss quick write responses. Follow up question Does he really have a reason?

Is good comparable to bad as Alex seems to reason?

Does P.R. Deltoid want Alex and youth like him to stop being violent or does he want
them to simply get caught and put away is it the individuals or their actions he is
against?

Deconstruction of the quote: I do what I do because I like to do. Is this just nonsense?

:45 :50 Ticket out the door

Students write responses to: Why doesnt Alex go into detail in the final part of the chapter
with the two girls when he has been so graphic in his detail up till now? Do you think this was
the choice of the author or editor (was it left out or removed out of taste or censoring), or is this
intentional to depict a quality of Alexs character (if so what could this mean)?

For Homework over the break: Read Part 2 and continue to take notes and add to Nasdat Dictionary

Monday, December 1st

Unit 5, Day 8
:00 - :05 Attendance and Housekeeping
:05 - :25 Wrap-up of Part 1

Review of the events of chapters 5, 6, &7

Inquiry Questions:
o

Does Alex lead his droogies through fear and force, or is he manipulative and
calculating?

Do you think the others had planned all along to have Alex end up getting arrested, or
was it a circumstance of the event?

How does Alex change once he is arrested?

Why dont Alex and his gang use guns? Do they value the hand-to-hand immediacy of
chains and razors and fists? Could it be some type of code of honor? Or being British,
might the author simply not considered guns (gun violence in England is much lower
than in the US)?

:25 - :40 Think-Pair-Share on Part 1

Considering Part 1 of the book alone (up till Alex is arrested), what do you believe Burgess
purpose or intention was for writing the book?
o

Students will have 5 min to jot down ideas individually

They will then pair up (or in threes) and discuss their thoughts with a partner (5 min)

Pairs will then offer up their responses for discussion and consideration by the class (10
min)

:40 - :45 Brain Break!

:45 - :75 Discuss/Deconstruct Part 2 Chapters 1-3

What changes in the text do notice between part 1 and the beginning of part 2? Particularly in
the tone and pace of the narrative.

Alex begins to refer to himself as Your Humble Narrator, but is he really humble, or is this an
attempt for sympathy?

Do we, can we, feel sorry for Alex?

What can we make of his relationship with the prison chaplain?

What would be a deconstructionist reading of the changing of the narrators name from Alex in
part 1, to 6655321 in part 2?

:75 - :80 Ticket out the door

Students will respond to: What is the difference between being good and choosing good? Can
the two be separated? Does the significance come from the act or from the decision?

:80 - :90 Distribute Guide Book Assignment sheet

Pass out assignment sheet and go over it with the class (see next page for assignment sheet)

Deconstructionist Guidebook
Modern Literary Perspectives
Due: Tuesday, December 9th
Assignment Description: For your culminating project for the unit, you will be writing a
guidebook to navigating the world of A Clockwork Orange. The world of A Clockwork Orange
is very strange indeed the language and violence of the youth, the strange milk bars,
government corruption and misuse of power it is not a place to go if you are uninformed about
the customs and social order. You are tasked to write a guidebook for visitors to safely make
their way through this strange and dangerous world. The catch is the person who will be reading
your guidebook is a strict Deconstructionist and will be reading your work through this critical
lens. To account for this you will need to anticipate that your reader will be actively trying to
interpret your words in any number of ways other than how you intend them to be understood.
So your language must be precise, your intended meaning must be explicitly clear, and you must
attempt to anticipate any and every misconception of your words. To do this, you will also have
to do some deconstructing of your own.
The purpose of this assignment is three fold: first, to allow you to demonstrate to me
your level of understanding and knowledge of the novella itself; secondly, to give you the
opportunity to show me how well you grasp the major principles of Deconstruction by
attempting to counter a readers ability to use it to discredit or misinterpret your writing; and
lastly, to allow you to demonstrate your command of the written language by making precise and
deliberate decisions with language in your writing.

Length: As always, there is no required page or word count for this assignment. I do not want
to see how much you can write, but how well. Your work need only be as long as must be to
fulfil the requirements of the assignment. At this stage in your education I feel you should be
trusted to exercise your own judgment in this area as to what is and is not sufficient.

Major Elements:

A dictionary or glossary of essential slang terms and their parts of speach (this needs not
and should not be comprehensive of the entire book, it is up to you to decide what is
important and what is not)

A description of the social order who to avoid, who to trust, who is really in charge, etc.

A description of the nightlife places to go relax, eat, drink, shop, and what to expect
and how to act when you go.

Tips for general safety where to and where not to go and when and why (what should
someone be on the lookout for to stay safe and out of trouble?).

Describe the local fashions and customs

Traveler essentials what should every visitor absolutely take with them (be creative but
practical)

Format: As always, the assignment should be: typed, in 11 pt. Times New Roman font, and
with 1.5 line spacing. Your style and tone (as well as the layout) should be authentic to genuine
guidebooks (Lonely Planet, Formers, etc.) casual but professional. This project should not
require you to need any citations I want an original work.

Deconstructionist Guidebook Scoring Sheet:

The presentation of the guidebook is authentic in its
style, tone, and layout.

/10

All major elements are addressed thoroughly and

contain sufficient detail.

/20

The work demonstrates a thorough grasp of the

major principles of Deconstructionist theory evidence of deconstructing the text is apparent, as
well as is anticipation of possible misinterpretations
through the use of highly specific language/word
choice and elaborate descriptions.

/30

A solid understanding and knowledge of the text is

evident it is clear the student has conducted a
close, careful reading of the text.

/20
The writing is clear and fluid, has discernable
readability and demonstrates a grasp of and
attention to audience appropriateness.

/10
The writing is free of mechanical errors (spelling,
grammar, punctuation, capitalization)

Total

/10
/100

Tuesday, December 2nd

Unit 5, Day 9
:00 - :05 Attendance and Housekeeping
:05 - :25 Discussion and Deconstruction of Part 2, Chapter 4

What can we infer about Alex neither being referred to by his name nor his prison number in this
chapter? In place of these he is simply referred to as Friend.

Why does Alex react negatively to the films even before he begins to feel sick? Is it the
situation strapped in the chair, eyes propped open, or is it something changing in him before his
treatment really begins?

:25 - :45 Discussion and Deconstruction of Part 2, Chapter 5

What can we say about the films Alex is being shown? They seem real, and some seem as
though they were intentionally set up and filmed for this purpose. How can the government
justify this?

Is what is happening to Alex normal and healthy?

Do you think this treatment is really curing Alex? Is it the treatment or something else that is
causing the change in his demeanor?

:45 - :65 - Discussion and Deconstruction of Part 2, Chapter 6

From how Alex reacted when they played Beethoven along with the films, can we still
reasonably believe that his original association of music to violence was real? Or were they
simply two things he liked and so he created the connection?

Assuming the position of the doctors and government officials, is it morally right to destroy
Alexs love for music, to make it so he can no longer listen to it without getting sick?

Are these doctors and officials really good people? What defines a good person their actions
or their motivations? Do ends justify means?

:65 - :85 Discussion and Deconstruction of Part 2, Chapter 7

Can the conditioned response to violence that has been imposed on Alex itself be considered a
form of violence?

Has Alex really learned anything through his treatment, or actually been reformed? What counts
as reforming?

Are the doctors and government officials at this point in the book any different from Alex at the
beginning of the book?

:85 - :90 Ticket out the door

Can we even consider Alex to be the same person now as he was at the start of the book? How
much, and what kinds of aspects of a persons personality can be changed and they still be
considered the same person? Is he an entirely different character now?

For Homework: Read Part 3, Chapters 1-3 Continue taking notes on where the text contradicts itself.

Wednesday, December 3
Unit 5, Day 10
:00 - :05 Attendance and Housekeeping
:05 - :25 Discuss and Deconstruct Part 3, Chapter 1

Can we feel sorry for Alex for what he has gone through to return home and find it is no longer
home for him?

What does it say about Alex that he assumed he could simply return home and be welcomed
considering his past? Could he really consider his actions to be that inconsequential?

What does this chapter make you think about the concept of home?

:25 - :45 Discuss and Deconstruct Part 3, Chapter 2

Survey the class to see how many are now able to read the Nasdat speak without noticing.

Ask those who can still translate it or if they are able to understand it like any other words in the
text.

Take time to discuss this

Aside from their taste in music, why does Alex now seem entirely critical of other teenagers?
Was violence such a part of his identity that he can no longer relate to other teens?

Is this part of the book supposed to be read as humorous, sad, justified?

:45 - :65 Discuss and Deconstruct Part 3, Chapter 3

How could Dim and Billyboy possibly become police with their background?

It seems as though the government is just redirecting their violent tendencies, appropriating it
for their own purposes is this justifiable? What happens when this dichotomy between good
and bad is blurred?

Alex is repeatedly reduced to a child-like state of tears in this third section of the book what is
his genuine personality a violent arrogant thug, or a scared and insecure boy?

:65 - :75 Ticket out the door

Students will respond to: Why does Alex not feel the sickness when violence is done to him?
As when he watched it in the films, when it is done to him he can see it just the same. Does this
discredit the story or author at all?

For Homework: Read and take notes on Chapters 4-7

Thursday, December 4
Unit 5, Day 11
:00 - :05 Attendance and Housekeeping
:05 - :25 Discuss and Deconstruct Part 3, Chapter 4

What changes do you see in Alexs language?

o

Allow students to make suggestions and ask for explanations.

Shouldnt the sight of the house, the man, and the memory of what he did bring on the
sickness in Alex? How can we justify this inconsistency in his reactions to doing, seeing, and
thinking about violence?

What significance can we draw from the fact that F. Alexander and the chaplain make the same
comment A man who cannot choose ceases to be a man.?

:25 - :45 Discuss and Deconstruct Part 3, Chapter 5

Alex says about F. Alexander: hes another Alex. Is he really another Alex? Are we meant to
believe they are similar in any way? If so, how can that connection be made?

Are the men Alex meets in the chapter any better than the government officials who tried to
rehabilitate him?

Alex claims he want to be normal and healthy again, like he was before. Was he normal and
healthy? How does this make you think about the term normal?

Did F. Alexander know from the beginning who Alex was? Was the whole ordeal merely about
getting revenge on him and making him suffer?

:45 :50 Brain Break

:50 - :70 Discuss and Deconstruct Part 3, Chapter 6

Why is Alex never killed? How has he survived so many beatings, jail, and a suicide attempt
and managed to recover so quickly?

How can the doctors claim the manner that Alex reacts to the pictures is good? Regardless of
him no longer being brain-washed by the government, isnt it still a very bad thing for him to
think in such a way?

How is it that Alex is so accepting and trusting of the Minister of the Interior after what he
supported putting him through in the first place? Is there any aspect of Alexs character that is
consistent and reliable?

:70 - :80 Discuss and Deconstruct Part 3, Chapter 7

Present background on the chapter

o

Originally excluded from the American version of the book

Taken out by the editor at the New York publisher

Does this chapter make for an anti-climactic ending?

The story of Alex seems to both come full circle, and not is this realistic, does it make sense?
Or does it leave us disappointed? Could the lack of genuine resolution be the point what sort of
point is that?

Despite his revelation on life, Alex continues to speak Nasdat through the last line. Does this
seem right, or should it have dropped off entirely?

:80 - :90 - Ticket out the door

Have students respond to the following: Which rendition of Alex do you feel is the true Alex?
Which will you remember, which do you think we are supposed to remember?

Friday, December 5
Unit 5, Day 12
:00 - :05 Attendance and Housekeeping
:05 - :35 Deconstructing the book as a whole

Students will work in small groups for 10 minutes to identify three elements of the text that are
contradictory or where meaning ultimately fails.

They will write their thoughts down on a single piece of paper for the group to be turned in at
the end of the discussion.

Following the 10 min group brainstorming, each group will present their thoughts to the class

Teacher will record them on the board

As a class we will then briefly discuss and decide on what three are the most prominent

Of these, each student will choose the one they feel has the strongest impact on the story and
write a brief explanation supporting their choice. This will be collected to assess for
understanding of the theory of Deconstruction as well as of the novel.

:35 - :40 Brain Break

:40 - :90 Guidebook Project workshop time

Students will use this time to work on their end of unit project.

They can work together to complete their Nasdat Dictionaries, and complete their notes.

Teacher will be circulating and available to offer individual assistance and answer any
questions.

Monday, December 8
Unit 5, Day 13
:00 - :05 Attendance and Housekeeping
:05 - :10 Move class to computer lab
:10 - :90 Guidebook project workshop day

Students will have the entire class period to work on their project

Teacher will be available to answer any questions and provide individual support

Tuesday, December 9th

Unit 5, Day 14

:00 - :05 Attendance and Housekeeping

:05 - :10 Collect Guidebook Projects
:10 - :15 Pass out copies of Turning By Susan Howe
:15 - :30 Students read the poem independently
:30 - :50 Students work in pairs to Deconstruct the poem

They do not need to attempt the whole poem, sections will be assigned and they will
deconstruct them thoroughly. Work will be written down to be turned in.

:50 - :55 Brain Break

:55 - :70 Pairs group with another pair and compare their work

Pairs will be grouped with another pair who had a different section of the poem

They will explain their deconstructions and give each other feedback

:70 - :85 Regroup as a class to discuss student work

:85 - :90 Ticket out the door

Students will answer the following: Does Deconstruction lend itself better to poetry or to prose?
Justify your answer.

Wednesday, December 10th

Unit 5, Day 15
:00 - :05 Attendance and Housekeeping
:05 - :15 Intro to Film

Teacher will give a talk introducing the film Dead Man

Explanation of student responsibilities while viewing the film

o

Students will take notes on the film deconstructing it visually, audibly, and for dialogue

:15 - :65 Screen Movie

Students will watch the first 50 min of the film

:65 - :75 Brief Discussion

Students will have the opportunity to comment freely on the film.

Thursday, December 11th

Unit 5, Day 16
:00 - :05 Attendance and Housekeeping
:05 - :15 Recap of film
:15 - :85 Finish Film

:85 - :90 - Assign Homework

Students will bring to class a write up of their deconstruction of the film

Friday, December 12th

Unit 5, Day 17
:00 - :05 Attendance and Housekeeping
:05 - :20 Collect Students End of the Semester Final Papers Personal Narrative
(This assignment was issued at the beginning of the semester and is not considered part of this unit plan)
:20 - :35 Return Guidebook Project

Return student work

Provide class feedback on their work

Remind Students Revisions are due by Monday the 15th and should be included with the original
in their writing portfolios for conferences.

:35 - :65 Open discussion

Students will be allowed to bring up questions or comments they have regarding any of the
critical lenses we have studied over the semester.

:65 - :90 Independent Silent Reading