This text resource illustrates the Standards Map for the Grades 11 and 12 Reading Literature domain in the Common Core State Standards.
Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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Textual evidence
Inferences
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1 - Cite (Textual evidence)
1 - Cite (Inferences drawn)
3 - Determine (Uncertain matters)
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1 - I can cite strong and thorough textual evidence to support analysis of what the text says explicitly.
1 - I can cite inferences drawn from the text.
3 - I can determine where the text leaves matters uncertain.
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A. Citing evidence presents a strong case to support your analysis.
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A.1 Why must I cite evidence?
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Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text.
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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2 - Determine (Themes or central ideas)
4 - Analyze (Theme development)
3 - Include (Interaction)
3 - Include (Building on one another to produce a complex account)
3 - Provide (Objective summary)
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2 - I can determine two or more themes or central ideas of a text.
4 - I can analyze theme development over the course of the text.
3 - I can include how themes interact.
3 - I can include how themes build on one another to produce a complex account.
3 - I can provide an objective summary of the text.
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A. Summarizing allows a reader to put all the theme pieces together to analyze development.
A. Breaking down the main ideas helps one see the interactions and the buildup of a text.
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A.1 Why do I summarize a text?
A.2 How do I recognize a complex account within a text?
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Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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Impact of Author
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4 - Analyze (Impact of author development choices)
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4 - I can analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).
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A. Authors choose setting, action and characters and build upon the interaction of these elements.
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A.1 How does the author develop story elements?
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Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful.
(Include Shakespeare as well as other authors.)
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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1 - Determine (Meaning of words and phrases)
3 - Include (Figurative meanings)
3 - Include (Connotative meanings)
4 - Analyze (Impact of specific word choices on meaning)
4 - Analyze (Impact of specific word choices on tone)
3 - Include (Words with multiple meanings or language that is particularly fresh, engaging, or beautiful)
3 - Include (Shakespeare, others)
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1 - I can determine the meaning of words and phrases as they are used in the text.
3 - I can include figurative meanings.
3 - I can include connotative meanings.
4 - I can analyze the impact of specific word choices on meaning.
4 - I can analyze the impact of specific word choices on tone.
3 - I can include words with multiple meanings or language that is particularly fresh, engaging, or beautiful.)
3 - I can include Shakespeare and other authors.)
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A. Figurative and connotative meanings may confuse some if context is not considered.
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A.1 Why do texts confuse some?
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Analyze how an author’s 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.
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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4 - Analyze (Structure choices)
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1 - I can analyze how an author’s 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.
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A. All parts of a text fit within a structure determined by the author.
B. Authors strive to paint a clear image for readers.
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A.1 How do parts fit together in a story?
B.1 Why might authors structure for aesthetic impact?
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Analyze a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement).
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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4 - Analyze (Case of grasping point of view)
2 - Distinguish (What is directly stated in a text from what is really meant)
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4 - I can analyze a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement).
2 - I can distinguish what is directly stated in text from what is really meant (e.g., satire, sarcasm, irony, or understatement.
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A. Satire, sarcasm, irony and understatement require thinking beyond what is stated to figure out what is meant.
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A.1 Why are meanings not always the same for what is stated?
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Analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text.
(Include at least one play by Shakespeare and one play by an American dramatist.)
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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Analysis
Required Play
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4 - Analyze (Multiple interpretations of a story, drama, or poem)
6 - Evaluating (How each version interprets the source text)
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4 - I can analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production of a play or recorded novel or poetry).
6 - I can evaluate how each version interprets the source text.
1 - - 6 I can include at least one play by Shakespeare and one play by an American dramatist.)
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A. Multiple interpretations may be due to viewpoint of those producing and evaluating the works.
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A.1 Why might there be variations in interpretations of stories, dramas or poems?
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Demonstrate knowledge of eighteenth-, nineteenth- and early-twentieth-century foundational works of American literature, including how two or more texts from the same period treat similar themes or topics.
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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2 - Demonstrate (Knowledge American literature)
3 - Include (How two or more texts from the same period treat similar themes or topics)
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2 - I can demonstrate knowledge of eighteenth-century foundational works of American literature.
2 - I can demonstrate knowledge of nineteenth-century foundational works of American literature.
2 - I can demonstrate knowledge of twentieth-century foundational works of American literature.
3 - I can include how two or more texts from the same period treat similar themes or topics.
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A. Themes recur throughout history and reflect the events of the times.
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A.1 How might literature vary between centuries?
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By the end of grade 11, read and comprehend literature, including stories, dramas, and poems, in the grades 11–CCR text complexity band proficiently, with scaffolding as needed at the high end of the range.
By the end of grade 12, read and comprehend literature, including stories, dramas, and poems, at the high end of the grades 11–CCR text complexity band independently and proficiently.
| Content | Skills | Learning Targets | Big Ideas | Essential Questions |
|---|---|---|---|---|
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Literature
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1 - Read (Literature)
2 - Comprehend (Literature)
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1 - I can, by the end of grade 11, read literature, including stories, dramas, and poems, in the grades 11–CCR text complexity band proficiently, with scaffolding as needed at the high end of the range.
2 - I can, by the end of grade 11, comprehend literature, including stories, dramas, and poems, in the grades 11–CCR text complexity band proficiently, with scaffolding as needed at the high end of the range.
1 - I can, by the end of grade 11, read literature, including stories, dramas, and poems, in the grades 11–CCR text complexity band proficiently, with scaffolding as needed at the high end of the range.
2 - I can, by the end of grade 11, comprehend literature, including stories, dramas, and poems, in the grades 11–CCR text complexity band proficiently, with scaffolding as needed at the high end of the range.
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A. By the end of high school, students must read independently and proficiently, presenting understanding of key elements.
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A.1 How can I demonstrate comprehension of stories, dramas, and poems?
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