The goal for this lesson is to increase student comprehension and problem-solving skills by emphasizing real-world problems and encouraging students to be proactive in solving those problems. Description of classroom, grade level, and students: This assignment is for a 10th grade English II classroom, ranging from AP to standard student populations.Prior Knowledge of Subject: Students possess a prior knowledge about tornado activity, severe thunderstorms, and earthquakes due to living in Oklahoma.Length of Lesson: Students will be allotted 10 class periods of 45 minutes in class. They are also allowed to work on this assignment outside of class, if needed.

The cartoonist mocks the opportunism evident in Winfield Scott's endorsement of both the abolitionist cause and the Missouri Compromise. Scott, in military uniform, is seated at a table with a plate of soup before him. He lifts his spoon from the plate and finds in it a kneeling black man, with arms outstretched saying, "Dis poor nigger am like Jonah, when de men would'nt let him stay in de Ship; and de whale would'nt let him stay in de water." Scott observes, "Here's a predicament! first I shall have to swallow this nigger to please the north & then take a compromise emetic and deliver him up to please the south. Faugh! what a dose of Ginger, but I am anxious to serve the country at $25,000 pr Annum so down he goes." Appearing from out of the steam is a Southern planter who remarks, "I should think from the flavor of the Generals last plate of Soup that my darkey had tumbled into it. I've heard of 'Green Turtle' and 'Mock Turtle' but that would be a pretty Strong dish of 'Black Turtle." For the origin of the perennial joke about Scott's "hasty plate of soup," see "Distinguished Military Operations" (no. 1846-15). The style of "A Dish of Black Turtle" is similar to that of John L. Magee's "A Magnificent Offer to a Magnificent Officer" (no. 1852-27), and is probably by the same artist.|For sale No. 2 Spruce St. N.Y.|Probably drawn by John L. Magee.|Pub. by P. Smith [i.e., Nathaniel Currier] N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 109.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1852-28.

The satire apparently perceives President Polk's reinstatement of Winfield Scott over Zachary Taylor as commander of U.S. forces in the Mexican War in November 1846 as an attempt to squelch the extreme personal popularity won by Taylor through dazzling early victories at Palo Alto, Resaca de la Palma, and Monterey. Scott (center) is shown emptying a large tureen of soup onto Taylor, saying "Take that! you're my subordinate!" The "hasty bowl of soup" was a recurring jibe which haunted Scott throughout the rest of his public career. (See also "Battle of Cerro Gordo" and "Battle of Churubusco," nos. 1847-2 and 1847-3.) It originated in Scott's opening comment in a May 25, 1846, letter to Secretary of War William L. Marcy protesting his removal as commander, "Your letter of this date, received at about 6 p.m., as I sat down to take a hasty plate of soup . . ." Here Scott is urged on by Polk (right), who says, "That's right Scott, we must Smother him [i.e., Taylor]!" Scott asks Taylor, "Where were you when I was ordering my hasty plate of Soup?" Taylor, in his customary wide-brimmed hat and simple civilian coat, is in marked contrast to the elegantly uniformed Scott. As a troop of soldiers at attention looks on, Taylor bears the indignity, responding, "Please your Excellency and Commander in Chief I was at the Pallo Alto, Resaca de la Palma, & Monterey." One of the soldiers adds, punning on Taylor'a name, "Aye Aye, the People will put him right, although he's a Taylor he "leads" to danger and dont "follow" suit." Although unsigned the print is quite close in drawing, if not in political bias, to Edward Williams Clay's pro-Scott "Santa Anna Declining a Hasty Plate of Soup at Cerro Gordo" (no. 1847-4). The similarity between the portraits of Scott in the two prints is especially convincing evidence of Clay's authorship.|Drawn by Edward Williams Clay, 1846 or early 1847.|H.R. Robinson's Lith. 142 Nassau St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 94.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1846-15.

A satire on the Van Buren administration's involvement in New York State politics. Although the precise context of the cartoon is unclear, specific reference is made to Van Buren's alliance with postmaster general and political strategist Amos Kendall against Senator Nathaniel P. Tallmadge, leader of the conservative faction of New York Democrats. In an interior, Kendall (left) and Van Buren are at a table strewn with "discharge" papers. Kendall, seated below a painting of Andrew Jackson titled "Glory," reads the "Globe" newspaper. Van Buren sits below a portrait of "Globe" editor and administration apologist Francis Preston Blair. Van Buren: "So they've nailed that infernal Tallmadge to the counter-Whole hog fellows these eighteen-we must show our gratitude-any room in your concern Amos?" Kendall: "You're right sir we must back up the Albany Boys. Ill send every d--md whig in my department to "Jones" locker. Theres that old superanuated hero Van Ranselaer [i.e., probably, Canal Commissioner Stephen Van Rensselaer] we'll bury him decently and put a "Flagg" [State Comptroller Azariah C. Flagg] over him." Tallmadge watches from behind a curtain, saying "Those fellows can only conceive of mens souls as marketable commodities." Weitenkampf dates the print tentatively 1836, but the artist's rendering of Kendall is clearly based on Charles Fenderich's life portrait, etched by William W. Bannerman and published in the "United States Magazine and Democratic Review" in March 1838. The likeness of Tallmadge also appears to be from a Fenderich portrait copyrighted in 1839.|Printed & published by H.R. Robinson, 52 Cortlandt Street New York.|Title appears as it is written on the item.|Charles Fenderich, no. 2E7 and B2.|Weitenkampf, p. 43-44.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-2.

A crude nonpartisan satire, parodying all four candidates in the 1860 presidential election. A map of the United States hung on a wall is being torn apart by three of the candidates. Lincoln (far left) and Douglas tear at the western part of the country, as Breckinridge (center) attacks the South. The fourth, John Bell (right), stands on a stool trying to repair the northeastern section with a jar of "Spaldings," a widely marketed glue of the period. Several boxes of this adhesive appear, prominently labeled, at right. "Dividing the National Map" appears to be part of a series of satires by the same artist as "The Undecided Political Prize Fight" and "The Political Quadrille" (nos. 1860-22 and 1860-23).|Title appears as it is written on the item.|Weitenkampf, p. 121. |Wilson, p. 42-43.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1860-24.

An illustrated sheet music cover for a comic song, published "for the benefit of the Soldiers Home Fair, Milwaukee, Wis." The cover is adorned with a caricature of an obese Britannia, seated and holding a trident and shield. Printed in almost monochromatic neutral tones, the oval-format illustration imitates classical medallions or reliefs. The work expresses the abiding Northern resentment over British support of the Confederate war effort.|Signatures have evidently been obliterated, judging by the presence of scratching-out in the stone in the lower portion of the oval. |The Library's impression was deposited for copyright on June 28, 1865.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1865-10.

This resource introduces the DoNow project in conjunction with the GoPro challenge. It explains how to implement this curriculum into a language arts classroom (virtual, bricks and mortar, or blended), with an overview, detailed plan, assignments and rubrics, and other resources.

This resource provides lesson plans aligned to CC Standards for language arts that can be adapted to a wide range of LA levels, from middle to high school.

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A satire directed against the United States Bank, showing the impact of Jackson's September 1833 order for the withdrawal of federal funds from the Bank and their distribution among state banks. In a bedchamber the Bank, portrayed as an obese woman, lies in bed vomiting coins "Deposites [sic]" into a basin "Manhattan Bank." Nearby are two other basins (filled) marked "Mechanics Bank" and "Bank of America," and two broken medicine vials labeled "Veto" and "Order for the Removal of the Deposites." Bank president Nicholas Biddle holds her head. Bank: "Oh! dear Nick! I am dreadful sick!" Biddle: "D--n that Doctor Jackson. This is the effect of his last prescription." At left stand Bank supporters Henry Clay, Daniel Webster and John Calhoun, as physicians in consultation. Clay: "What do you say to the application of my Patent American System?" Calhoun: "Doctor your American System won't do here. Desperate cases require desperate remedies, a few of the leaden pills of Nullification and some blood taken will suffice." Calhoun's reputation in the North was sorely affected by his leadership role in the southern Nullification effort of 1832. Webster (in the center): "I wonder how a few grains of Common Sense washed down with Boston Particular would do?" On the floor at left sits a man, no doubt a pro-Bank newspaper editor, holding a copy of the "National Gazette," moaning: "Alas! Alas! No more fees." Jackson and Major Jack Downing look in through a window at far left. Downing: "Why Gineral, I never know'd You was a Doctor before." Jackson: "No more I ain't Major Downing but I've read the American Family Physician and know what kind of a dose to give to clean out a foul stomach!"|Published and for sale wholesale and retail by Anthony Imbert at his Caricature Store no. 104 Broadway, New York.|Title appears as it is written on the item.|Helfand, p. 9.|Weitenkampf, p. 28-29.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1833-10.

This lesson is designed for students to learn basic social justice vocabulary, such as systemic racism and analyze if equity matters. Through vocabulary development of terms around race relations and equity, along with the analysis of two articles, students will gain an understanding of equity in social organizations. Finally, using the articles, the content-specific vocabulary and their own schema, students will discuss if equity matters in a Socratic seminar.

Students will learn the potential costs and benefits of social media, digital consumption, and our relationship with technology as a society in the three-week lesson. This inquiry based unit of study will answer the following questions:

Essential Question: How can we use science fiction’s ability to predict the future to help humanity?

Supportive Questions 1: What predictions of future development has science fiction accurately made in the past? This can include technology, privacy, medicine, social justice, political, environmental, education, and economic.

Supportive Question 2: What predictions for future development in contemporary science fiction are positive for the future of humanity? What factors need to begin in your lifetime to make these predictions reality?

Supportive Question 3: What predictions for future development in contemporary science fiction are negative for the future of humanity? What factors need to begin in your lifetime to stop these negative outcomes?

Doodle Splash combines the process of drawing with analytical thinking by pairing online drawing with writing prompts that encourage students to make connections between their visual designs and the text.

An illustrated unionist sheet music cover, condemning secessionist state South Carolina, and probably issued shortly after its Charleston Convention of December 20, 1860. (See "The Palmetto State Song," no. 1861-2.) Strongly militant in tone, the illustration shows an American soldier standing on the palmetto flag of South Carolina, which lies on the ground. The flag is partially draped over a broken military drum. Two cannonballs appear on the ground around it. The soldier holds a saber, whose point seems to pierce the Southern flag, and an American flag. Four lines of the song appear above the ilustration: "Down with the Traitors serpent flag! / Death to the wretch o'er whom it waves! / And let our heaven-born banner float / O'er freemen's Homes & Traitors' Graves!"|Chicago. A. Judson Higgins Publisher.|Entered . . . 1861 by A. Judson Higgins . . . Illinois.|Lith. Chas. Shober 109 Lake St. Chicago.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-3.

A pro-Jackson satire applauding the President's September 1833 order for the removal of federal deposits from the Bank of the United States. The combined opposition to this move from Bank president Nicholas Biddle, Senate Whigs led by Daniel Webster and Henry Clay, and the pro-Bank press are ridiculed. On the right, Jackson, cheered on by Major Jack Downing, holds aloft an "Order for the Removal of Public Money." Jackson: "Major Jack Downing. I must act in this case with energy and decision, you see the downfall of the party engine and corrupt monopoly!!" Downing: "Hurrah! General! if this don't beat skunkin, I'm a nigger, only see that varmint Nick how spry he is, he runs along like a Weatherfield Hog with an onion in his mouth." From the document emanate lightning bolts which topple the columns and pediment of the Bank, which crash down amidst fleeing public figures and Whig editors. Around them are strewn various newspapers and sheets with "Salary $6,000" and "Printing expenses "$80,000" printed on them. Henry Clay (at left, fallen): "Help me up! Webster! or I shall lose my stakes." Daniel Webster (far left): "There is a tide in the affairs of men, as Shakespeare says, so my dear CLay, look out for yourself." Nicholas Biddle, with the head and hoofs of an ass or demon, runs to the left: "It is time for me to resign my presidency." Two men flee with sacks of "fees." These fugitives may be newspaper editors Mordecai Manuel Noah and James Watson Webb, advocates of the Bank accused of being in the employ of Biddle.|Draw'd off from Natur by Zek. Downing, Neffu to Major Jack Downing.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N. York.|The print appears to be a reversed copy of a work of the same title by Edward Williams Clay, deposited for copyright in the New York District Court on October 5, 1833. Weitenkampf and Davison both list the Clay version.|Title appears as it is written on the item.|Century, p. 40. |Davison, no. 62.|Murrell, p. 127.|Weitenkampf, p. 29.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1833-9.

This is an overview of a dramatic play restaurant center. It includes description, purpose, suggested materials, questioning examples, considerations, photo examples, literature connections and downloadable resources.

By closely reading historical documents and attempting to interpret them, students consider how Arthur Miller interpreted the facts of the Salem witch trials and how he successfully dramatized them in his play, "The Crucible." As they explore historical materials, such as the biographies of key players (the accused and the accusers) and transcripts of the Salem Witch trials themselves, students will be guided by aesthetic and dramatic concerns: In what ways do historical events lend themselves (or not) to dramatization? What makes a particular dramatization of history effective and memorable?

Another in the "bobalition" series of broadsides, parodying black manners, illiteracy, and dialect. (See no. 1819-2.) The text describes, in the words of a "letter from Phillis to her sister in the country," a nocturnal attack by white Bostonians on black freedmen and their homes. The letter is facetiously dated "Ulie 47th, 180027." The illustration shows a group of white men attacking and stoning a black woman and a man on crutches.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1827-1.

In this capstone course, students will use new and previous knowledge about drug delivery and biopharmaceutics, to design an innovation. Throughout the course students will engage in learning opportunities related to real-world scenarios in drug delivery, gain a better understanding of the anatomy and physiology related to drug delivery, and participate in a self-directed project to solve a fictitious problem. This learning tool will guide students through the process of understanding real-world applications of drug delivery and how drug delivery is applied to treating infectious diseases. DDF’s innovation project is aligned with NGSS and Common Core standards in math and ELA core curriculum subject areas. The learning activities, final project, and mid-unit assessments are provided to the teacher and students in the form of eLearning readings, quizzes, interactive tools, student response sheets, and presentation outlines. Students using this module should find success in self-directed learning, though they may use additional resources in the community, the guidance of teachers, the advice of scientists or biomedical professionals at DDF, or the knowledge presented in scientific literature to help them achieve their goal; though this module should provide most of the tools they will need for guidance. For more information on in-person learning experiences, please contact our DDF eLearning Project Manager, Lindsay Malcolm: lmalcolm@tsrlinc.com

In this problem-based learning module, students will work together collaboratively to establish questions and develop these questions into claims after being presented with the problem “How are today’s living standards contributing to the drug resistance disease crisis and what needs to be done to begin to reverse the effects of the contributing factors?”  The students will then work collaboratively to continue researching and will use the research to create a collaborative electronic public service announcement to go along with an individually written letter which will be sent to either a state representative, the FDA, lead community personnel, etc. Both products, the PSA and the letter will include their well defined claim, supported with evidence and backed up with reasoning.Prior to beginning module, please note: Module can be completed in isolation, or can be completed in conjunction with modules "Antibiotic Resistance and Antibiotic Policy" (science) and/or Advancing Change through Public Awareness (social studies) as part of a full interdisciplinary unit between 8th grade social studies, language arts and science.  This would allow for students to have a wider array of questions to guide their claims and the students could build the PSA in social studies and write the letter in Language Arts.

This unit plan was designed in order to instruct students in the Kittitas Valley about the contributions and perspectives of the Kittitas Band of the Yakama Nation. This unit plan has students use primary and secondary sources, inquiry, videos and lecture to plan and conduct an oral history interview with a Kittitas Band member. If tribal members of the Kittitas are not avaiable for interview, there is a sample video of an interview with Kittitas member Allen Aronica. Students can use this video instead of conducting an oral history interview for the final lesson.