‘Macbeth’ 2.0: upgrading a 2-dimensional unit

I have probably taught Macbeth close to a dozen times over the years. It’s a great work, and I honestly haven’t come across too many students who have actively disliked it. But there are only so many different ways you can teach iambic pentameter.

I’ve been working on adapting our existing unit according to the Concept-Based Curriculum and Instruction (CBCI) framework. The process of redesigning the unit with a more conceptual focus started with a colleague’s initiative a couple of years ago, when she brought in some poems by Browning and Tennyson to explore the concept of the archetype. I’ve taken it a little bit further and fleshed out 7 generalisations that amplify the statement of inquiry and add disciplinary depth to the unit. We’ve also added a film and media focus to expose students to a wider variety of text types in relation to the conceptual lens. It’s a work in progress, but the lessons are already so much more fun to plan and teach.

Unit Title: Villainous Characters (Grade 9 MYP English Language & Literature)

Key Concept: Connections

Related Concepts: Character, Intertextuality, Theme

Global Context: Identities and relationships (Consciousness of mind, motivation)

Statement of Inquiry: Archetypal characters act as intertextual links across time, place and genre.

Generalisations	Guiding Questions F=Factual C=Conceptual D=Debatable
1) Archetypes allow audiences to recognise patterns across texts.	F=What is an archetype? F=What common archetypal characters appear in literature and film? F=What are the characteristics of a typical villain? C=What makes the character of “the villain” so compelling? C=What is the difference between an anti-hero and a villain? C=Are some archetypes culturally specific?
2) Ambition and a desire for power can drive a person to commit morally questionable actions.	F=What is the definition of ambition? C=Why does the word ‘ambition’ sometimes have a negative connotation? D=Is evil born or learned? D=Is there a universal understanding of what is morally right and wrong?
3) Authors reveal characters’ motivations through internal and external conflicts.	F=What is the difference between an internal and an external conflict? F=What motivates Macbeth to kill King Duncan? F=What is Lady Macbeth’s motivation and what does this reveal about her character and her relationship with Macbeth? C=How do authors reveal characters’ motivations?
4) Writers employ figurative language to enable readers to make inferences about texts.	F=What are some examples of figurative language? F=How does Shakespeare use figurative language to develop his characters? F=How does imagery appeal to the senses? C=How is figurative language used to convey tone and mood? C=What inferences can readers make about texts by examining figurative language?
5) Playwrights/dramatists use soliloquies to communicate a character’s thoughts, feelings and motivations with an audience.	F=What are the conventions of a soliloquy? F=How does a soliloquy differ from a monologue? F=What is blank verse? C=What can a soliloquy reveal about character that dialogue cannot? C=How can a soliloquy elicit an emotional response from an audience?
6) Performers use non-verbal language to convey emotions.	F=What are some examples of non-verbal language? C=How do performers use non-verbal language to convey emotion? C=What can non-verbal language reveal that verbal language cannot?
7) Media platforms can manipulate language to shape public perceptions of individuals and groups of people.	F=What language devices are used on media platforms? C=How can media platforms shape public perceptions of individuals and groups of people? D=Is it morally justifiable for the media to villainize certain individuals or groups of people? When might it be justifiable to do so?