# Paideia High School/Diamond as Big as the Ritz

<Enter Name of Work> is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

## Column One

Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

### Exordium

The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

#### Oral Presentation

* <Enter instructions or information about live presentation of the work.>
* <Enter information and links to quality audio or video recordings of the work.>

#### Written Presentation

* http://www.sc.edu/fitzgerald/diamond/diamond.html A copy with line numbers is available on the school's moodle in Reading and Writing I B, in the week of April 24, 2012
* <Enter references to available books, prints, scores, or recordings and include a reference as follows A reference template may be added to update this template later because Majrjejm is sure there's a better way but doesn't know it yet.>
* This work is in the public domain.

### Interpretation

Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.
These questions can be appropriately modified for analysis of a work in science, mathematics, or the fine arts. Analysis of these types of works proceeds in a manner analagous to that of a text. Inasmuch as imaginative literature can be considered a work of fine art, the analogies drawn in Adler's and Van Doren's How to Read a Book can serve as a guide to other types of works too.

#### Interpretation of <Words and Terms> or <Elements>

In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

##### Interpretation of Key Terms

The key terms are those few words or phrases the author uses in unique, special, or important ways.. In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
* <First Term>
* <Second Term>
* <Etc.>

##### General Vocabulary

The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!
* <First Word>
* <Second Word>
* <Etc.>
Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

#### Interpretation of Sentences

One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.
Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speechs often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.
* <First Sentence>: <explanation of the grammar and how it helps to unlock the author's meaning>
* <Second Sentence>: <etc.>
* <Third Sentence>: <explanation of meter and rhythm, consideration of overall prosody>
* <Fourth Sentence>: <etc.>

#### Interpretation of Passages

At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.
* <Argument>: <demonstration of both the grammar of the sentences comprising premeses and of the concluding proposition along with the logic of the argument followed by an explanation of how the arguments help to unravel the author's meaning>
* <Passage Illustrating Rhetorical Rules>: <demonstration of the rhetorical rules and their value in the success of the author's purpose>
* <Passage Illustrating Poetical Rules>: <demonstration of the poetical rules and their value in the success of the author's purpose>
* <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>

### Erudition

Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.
<Note that these categories are presented alphabetically for ease of organization>

#### Anthropological References

* <information relevant to anthropological issues and discoveries--include citations--delete if not used>

#### Antiquarian References

* <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

#### Archaeological References

* <information about details related to archaeological discoveries--include citations--delete if not used>

#### Biographical References

* <information about the author--always include>
* <information about other textual references to important people--include citations--delete if not used>

#### Cultural References

* <information and links to cultural references--include citations--delete if not used>

#### Ethical References

* <information and links to ethical references--include citations--delete if not used>

#### Geographical References

* <links to relevant maps--delete if not used>
* <information relevant to geographical references--include citations--delete if not used>

#### Historical References

* <information and links to historical references--include citations--delete if not used>

#### Mathematical References

* <information and links to mathematical references--include citations--delete if not used>

#### Political References

* <information and links to political references--include citations--delete if not used>

#### Religious References

* <information and links to religious references--include citations--delete if not used>

#### Scientific References

* <information and links to scientific references--include citations--delete if not used>

## Column Two

Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.
Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

### Activities
#### Prerequisite Activities
##### Sensory Imagination Skills

<delete if not used>

#### Language Arts
##### Listening Skills

* <links to additional quality recordings--include citations--delete if not used>
* <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

##### Speaking Skills

* <imitation of quality oral readings--should be a part of every unit>
* <recitations from memory--should be some part of every unit>
* <oral presentations of written work--should be a part of most units>
* <class discussions--should be a part of every unit>
* <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

##### Reading Skills

* <read hard-copy with a pencil in hand--always!>
* <marking up a text both with a pencil and electronically>
* <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
* Assignment for reading:
“The Diamond as Big as the Ritz” Plot outline
Write a plot outline of the story, “The Diamond as Big as the Ritz.” I have started it for you below—continue it from there. Make sure to include details that will be important to the story as it unfolds later, but do not include excessive detail. Excessive details include things that may have been interesting, but aren’t important to plot, like what Kismine was wearing or how the rooms in the mansion were decorated. Beginning: We meet John Unger of Hades. His family sends him away to St. Midas’ school, where he meets lots of boys from rich families and makes friends with them. He meets Percy Washington, who invites him home with him for the summer. When the boys reach the Washingtons’ home, John discovers that the location and composition of the home is a secret even from the US Government, for fear that the source of the family’s wealth, a diamond that is a mountain, would be claimed by the government and stolen if others knew of it. As he lives in fabulous luxury and wealth with the Washington family, John falls in love with the younger sister of his friend, a girl named Kismine. John learns some further things about the Washington family and their way of life:

##### Writing Skills

After finishing the seminar on "Diamond" have students write a "where are they now" about John, Kismine, and Jasmine for one year after the story ends.

### Correction
## Column Three
### Seminar Question Writing Guidelines

The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.
| From How to Read a Book Adler & Van Doren (1972) | Question Type | Purpose of Question Type | Sample Seminar Questions Answers to Be Supported from the Text |
| What is the book (work) about as a whole? | Opening | Identify main ideas | What is the most important word or phrase in the Gettysburg Address? Which title to you prefer: Revolutionary War? War of Independence? or War of Succession? How would you state the plot of Hamlet in one to three sentences? |
| What is being said in detail and how? | Analytical | Root out main ideas, assertions, and arguments | What is the most important point Lincoln makes in the Gettysburg Address? Is the assertion "All men are created equal" self-evident? If so, why? If not, how could you rewrite it so that it is? What evidence is there that Hamlet overheard Polonius talking to the King? What evidence that he did not? What do you think? |
| Is the book (work) true, in whole or part? | Evaluative | Make and support judgments | Why does Lincoln say that those gathered cannot hallow the ground? Is he right? Are life, liberty, and happiness really rights? Why? Why not? How does Hamlet succeed in creating an experience in audience members about the meaning of life? Of action? Of inaction? |
| What of it? | Closing | Relate judgments about ideas to one's own life | Do you think the Gettysburg address has helped preserve the nation to the present day? What do the words of the Declaration of Independence teach you? Have they changed you? How? Which character in Hamlet do you identify most with? Least with? Why? |

### Specific Seminars

January, 2011 Seminar
Authors often make statements about bigger ideas through their stories. This story deals with morality and how it can be affected by wealth and privilege.
What does Mr. Washington, and by extension his family, most value? Support from the text How does Mr. Washington relate to God? Give examples. Why does he approach God in this way?
What does John most value? How does that form his actions and reactions in the story? Give examples.
Does John change through the story?
If no, why not? Should he? If yes, how is he different at the end of the story than he is at the beginning?
A grid here: AB, MB, MW, AW
At the beginning of the story, John says: “I like rich people. The richer they are, the better I like them.” Why did he feel that way?
Do you think he still would say or believe that at the end of the story?
Kismine says she is happy to be poor at the end of the story. Why? How has being rich affected her?
Will she and John change further? Why do you think that?
Did the Washington’s wealth have to make them as bad as they were?
Do you think Jasmine and Kismine will be better people after the story ends? Why?
For those who say yes, would they still be better people if Kismine had brought out a pocket full of jewels?
What is the author saying about wealth and morality? Support with evidence from the story
Do you agree?