Foreshadowing

As with so many other activities in this blog, this lesson may be used while teaching any literature to any class with some modifications.

Early in the semester, I teach literary devices ad nauseum and still, we arrive at the Shakespeare unit, at the end of the semester, and students are still unable to identify and explain most literary devices. This is a review of foreshadowing. It is hoped that students will have a deeper understanding of foreshadowing and how to identify and explain it in the texts studied.

Learning Targets
By the end of the period I will...

• be able to identify and explain literary devices

Agenda

1. Notes: Foreshadowing
2. An example from Macbeth
3. Other examples

Success Criteria
Students are engaged in activity and are able to explain graphic examples of foreshadowing and identify examples of foreshadowing in literature.

Lesson Plan
Teacher places notes re: foreshadowing on an overhead and asks students to copy notes into their notebooks as a focus activity. The notes I gave my students may be found on the Carlson English web site. I gave my students the following example from Macbeth:

DUNCAN I have begun to plant thee, and will labour To make thee full of growing... BANQUO There if I grow, The harvest is your own.

I find it easier to maintain classroom management if I place larger notes on overhead acetates in advance of the class, rather than write the notes on the board and expect students to copy the notes as I write with my back to the class. This way, the teacher can observe the class and better gauge when the class has finished copying the notes as well as give words of encouragement to help keep students on task throughout. The idea behind this is the tree imagery and the link to the witches' later prophesy concerning Birnham wood. I don't explain this to the students (I try to keep the punchline of the witches' prophecies secret as long as possible), but I do point out the tree imagery and that this is foreshadowing and will become important later on in the story. I ask them to remember tree imagery and point it out to them as we progress through the play. As a visual cue, I went to the Dollar Store and purchased a bough of plastic leaves. I show this to them and hint that tree leaves could make good camouflage if desired, but I keep my explanation cryptic.

Next, I show the students the graphc examples of foreshadowing, also from the Carlson English website and we discuss the difference between explicit, implicit and symbolic foreshadowing. Lastly, I show students one more graphic example of foreshadowing taken from http://www.cartoonstock.com/ and we discuss how the example is foreshadowing.

**Note: due to copyright, I have chosen not to publish the overhead acetates I have created to use in this lesson.

Works Cited
Carlson English Web Site. Foreshadowing. 2011. <http://carlsonenglish.wikispaces.com/foreshadowing>. 2 August 2011.

Reynolds, Dan. Foreshadowing Cartoon. <http://www.cartoonstock.com/cartoonview.asp?search=site&catref=dre1433&MA_Category=&ANDkeyword=foreshadowing&ORkeyword=&TITLEkeyword=&NEGATIVEkeyword=> 2 August 2011.

Shakespeare, William. The Tragedy of Macbeth: Entire Play. <http://shakespeare.mit.edu/macbeth/full.html> 2 August 2011.

Boys and Competition

I'll be honest. The first time I saw a teacher giving high school students, some as old as twenty, candies for work completion, I was appalled. In my own practice, however, I have learned that a little incentive goes a long way. Every August, I do the Dollar Store circuit in my area. I spend about twenty dollars on incentive prizes for my students. I shop for packages containing multiples (i.e., 4 or more erasers, 6 or more pencils, etc.) for  a dollar and stock up. Every once in a while, I use the boys' competitive nature to engage the class in a game-type review for prizes. It's amazing how much students are willing to do for an eraser shaped like a pencil or a miniature highlighter.

Games and game play are excellent ways to engage students in class, both boys and girls, but, due to their competitive nature, quizzes and other competitions can become powerful learning tools in the classroom (Hennessy). Game playing works with girls, but it always seems more fun when playing these games with boys.

Crosswords, Word Search and other Word Puzzles
There are many sites online that allow you to make your own crosswords, word searches, and other similar puzzles for free. These are great diagnostic and/or review tools. The way to inject a bit of competitiveness into these puzzles is to offer prizes to the first ten students who correctly complete the puzzle.

Bingo
Bingo is a variant of a choice board (Chapman and King 144). When playing Bingo, the card should be constructed so that each column/row contains a different type of question (i.e., yes/no, recall and repeat, critical thinking, etc. or, in the case of Shakespeare, character, plot, theme, etc.). Students are required to answer any row of their choice. If the Bingo card is correctly constructed, students will answer a variety of questions by completing a single row of questions. Any students answering a row of questions correctly will win a prize.

"Board" Games
Some board-type games may be used for review with a little bit of revision on the part of the teacher. Because group game playing must be structured to ensure the experience is positive (Crescent School), I always like to explain the rules of the game prior to its use as a review tool. We also play the game as a reward before it is used as a review tool. Near the start of the semester, I might reward everyone that has completed his homework with a game. Those that did not complete their homework must sit at their desks and watch their classmates have fun or put their heads down. Games I have used in the class include "Hedbanz", "That's Right, That's Wrong", "Buzzword" and "Blurt" (the list continues to grow).

To incorporate Hedbanz as a review: create a set of large recipe cards containing a character's name on one side and personality traits on the other. Tape a card, name side up, on each student's back. Students must walk around the class giving each other hints that will help them guess which character they are. Once they guess correctly, they have won the prize.

That's Right, That's Wrong asks a series of questions, each of which has 2 answers. Students are required to select the wrong answer. The confusion this causes is part of the fun. To play this, create a list of review questions and provide one correct and one incorrect answer for each question. Give students a scrap of paper and ask the questions, requiring students to write down the wrong answer from each set of answers given. Take the answers up afterward. Students selecting the incorrect answer to each question win prizes. A great source for questions for this activity may be found at the Shakespeare4Kidz website. Here is an example of the answer sheet I created when I played this game.

Ball Toss
Sometimes called "Quote Toss", this is a high energy activity that students love. Each student is given either a quotation or a review question on a recipe card. Find a Nerf-type ball to toss, or something else that students can throw hard at each other without hurting each other (I went to the local Dollar Store and found a water football. It's spongy and light and will keep me from filling out an incident report when one student pelts it at another student with all his strength). The teacher either asks a question or reads a quotation and throws the ball at a student. If the student catches the ball, he must either answer the question correctly or give the speaker of the quotation (you could request context of the quotation as well--to whom the quotation is said and under what circumstance). If the student is correct, he stays in the game. If the student is incorrect, he must take a seat and is out of the game. If correct, the student asks his question or reads his quotation and throws the ball at the classmate of his choice. The last student (or students) standing win prizes.

Works Cited
Chapman, Carolyn and Rita King. Differentiated Assessment Strategies: One Tool Doesn't Fit All. Corwin Press: Thousand Oaks). 2005.

Hennessy, Michael. Engagement or Disengagement - Boys in Education. KidsLife: empowering parents to help children reach their full potential. Australian Scholarships Groups.  <http://www.kidslife.com.au/Page.aspx?ID=1423>. 29 July 2011.

Shakespeare4Kidz.Teacher Resources: Downloadable Comprehension Sheets. 1997-2011. <http://www.shakespeare4kidz.com/macbeth-teacher-resources.html>. 29 July 2011.

Using Graphic Novels in Class

Suitable reading materials have always been a struggle between my son and I. He wants to read (and write) graphic novels; I love reading (and writing) traditional novels. If he's going to read, I'd argue, I'd like for him to read a proper novel, but my son, it seems, likes to have the visual showing him the action. Since I've delved into the concept of differentiated instruction, I've come to embrace the graphic novel as a teaching tool, as it appeals to the visual, literary, and quite possibly the kinesthetic learners.

Learning Targets
By the end of the period I will...

• use visual clues to understand texts
• make inferences when reading and analyzing texts

Agenda

1. Read Macbeth Act 1
2. Plot review

Success Criteria
Students complete the activity as described. Teacher records completion of activity. Students self-correct.

Materials Needed

• copies of plot summary (from Hogbin and Howson)
• scissors
• clear tape and/or glue sticks

Lesson Plan

From Hogbin and Howson

After reading Act 1, it is helpful to review the plot for the students. One way to do this to engage male learners may be in a comic strip format. The one I use for Act 1 is at CollaborativeLearning.org (Hogbin and Howson). Rather than check the students' work when they are done, I use a Bus Stop Center (Chapman and King 97-98) in which I place several completed activities on a desk at the front of the class. After students show me they have completed the activity, they may self-correct using my master copies. They are encouraged to correct their work if needed after they check it against the masters. Students may not remove solutions from the front of the class. The Bus Stop Center (also called a Correct Spot, Correction Zone, Blemish-Remover Zone, Survivor Checkpoint, etc.) is a handy tool to help students with the concept of gradual release of responsibility.

Another Example

from Hoshine

If you have access to a published graphic novel of the play you are teaching, you can use excerpts from the graphic novel as a review tool as well. My school has a class set of graphic novels of Macbeth (Hoshine). I photocopied Act 2 and settled on about 10 - 12 frames that represented key plot points in the act. I created a table containing a modern-day English summary of what was going on in the comic strip frame (i.e., "The stress of having to kill King Duncan is wearing on Macbeth. He sees an apparition of a bloody dagger, leading him down the corridor.") I white-out the text in the corresponding comic strip frame and require students to fill in the bubbles from the play. This forces students to spend time with the original text in order to find the key quotes that complete the comic strip. This time, rather than use a Bus Stop Center for correction, I place the solution on overhead acetates and review the solution with the students as a group the next day (though a correction centre would work just as well).

Works Cited
Chapman, Carolyn and Rita King. Differentiated Assessment Strategies: One Tool Doesn't Fit All. Corwin Press: Thousand Oaks.

Hogbin, Rosemary and Pat Howson. Macbeth - Close Look At Act I. Collaborative Learning Project. October 2009.<http://www.collaborativelearning.org/macbethcloselookact1.pdf>. 19 July 2010.

Hoshine, Ken (Illustrator). No Fear Shakepeare: Graphic Novels - Macbeth. Sparknotes: New York 2008.

Meet the Witches

While trolling the Web for  some ideas that include critical thinking, I came across this lesson, which I adapted from the Folger Shakespeare Library website.

Learning Targets
By the end of the period I will...

• formulate an answer to the following critical thinking question: If Shakespeared had used any one of the terms from Holinshed, what would we expect the woodcut to look like?

Agenda

1. Woodcut of witches
2. Holinshead witches in history
3. Read Act 1 Scenes 1 - 3 Macbeth
4. Macbeth's Witches

Success Criteria
Participation in the construction of T-chart contrasting the imagery of the witches and in answering the critical thinking question.

Materials Needed

• copies of Holinshead Macbeth (found on the web and on the Folgers site)
• overhead of woodcut of witches (found on Folgers site)
• copies of T-chart template

Lesson Plan
Place the overhead of Macbeth, Banquo and the 3 Witches from Raphael Holinshead's Chronicles of England, Scotlande, and Irelande, London, 1577 (see Folgers site) on the board and ask students to brainstorm a list of adjectives to describe the witches in the woodcut. Compile a list of the adjectives on the board.

Distribute simplified copy of Macbeth from the Holinshead Chronicles (I used one from a writing in role assignment floating around my department entitled "Double, double, toil and trouble..." The only publication information I have on this is that it was copyrighted 1985 by Sundance Publishers and Distributers, Inc. It is from a blackline master from a separate collection of lesson plans). Read the story aloud to the class. Ask students to go back over the story and circle terms used to describe the witches in the passage. Compile this list in a T-chart on the board while encouraging students to copy the notes onto the template provided. Adjectives should include:

• uncouth wonder
• three women
• strange and wild apparel
• creatures of the elder world
• goddesses of destiny
• nymphs
• faeries

Read Act 1 Scenes 1 to 3 with students. I asked for student volunteers to read each part. At key points, I interrupted the reading to explain. Next, ask students to review Act 1 Scene 3 and make a list of terms used to describe the witches in the passage, encouraging students to copy the terms down on the T-chart template provided. Terms should include:

• so wither'd and so wild in their attire
• look not like the inhabitants o' the earth
• chappy fingers
• skinny lips
• bearded women

Show the students the woodcut picture of the three witches and ask students the following question: The woodcut is based on the descriptions in Shakespeare's version of Macbeth. If Shakespeare had used any one of the terms from Holinshed, what would we expect the woodcut to look like? Lead the students in the dicuscussion of this. The intersting point that came out of this conversation in my class was that Shakespeare describes the witches as old beggar women, which is the profile of those accused of being witches at that time. Holinshed portrays the witches as supernatural creatures, akin to faeries and nymphs and/or agents of the underworld. This lead to a discussion of who witches were in Shakespeare's time and the Inquisition and Salem witch trials.

The next day, to underscore our previous discussion, I brought in a handout (also un-cited but floating around my department) regarding Elizabethan Beliefs such as Religion, The Chain of Being, and Myths and Magic, which I read with the students. I showed them a picture of the Cottingley Fairies with an excerpt from Wikipedia explaining what they were and the social and media uproar they caused, in order to show students that, as recently as the 1980s, Francis Griffiths, one of the girls involved in the hoax, insisted one of the photographs was real. This discussion captivated my students and generated quite interesting discussion about religious beliefs, and social and religious mythology.

Works Cited
Cottingley Fairies. Wikipedia The Free Encyclopedia. 12 July 2011. <http://en.wikipedia.org/wiki/Cottingley_fairies>. 15 July 2011.

Gibson, Susan. "What are these...?" Folger Shakespeare Library. 2007. <http://www.folger.edu/eduLesPlanDtl.cfm?lpid=798>. 15 July 2011.

Quote Card Introduction

Hoping to alleviate some of the anxiety the boys were expressing to me about how difficult it was to understand Shakespeare, I tried this lesson, found on the Making My Journey blog site (Wood).

Learning Targets
By the end of the period I will...

• practice reading Shakespeare
• familiarize myself with the plot of Macbeth aqs well as significant quotes

Agenda

1. Quote Card Introduction
2. Brainstorm Macbeth Plot
3. Review Macbeth Plot

Success Criteria
Participation in quote card introduction and discussion of plot that follows.

Materials Needed

• copy of plot summary close exercise (see Wood's blog site)
• index cards
• copy of quotes from Macbeth (see Wood's blog site)
• scissors
• tape

Lesson Plan
 Follow the lesson plan as outlined on Wood's blog site.

Works Cited
Wood, Jenny D. Quote Card Introduction. Making my Journey Blog. 10 Mar 2010. <http://jennydwood.wordpress.com/2010/03/10/teaching-macbeth-quote-card-introduction/>. 5 May 2011.

Start Where They Are

One cannot begin to plan for one's class unless one is familiar with the learning styles of the students in the class. In order to gauge this, I have the students complete a multiple intellegences inventory at the start of each semester.

Learning Targets
By the end of the period I will...

• have a better understanding of how I learn.

Agenda

1. Multiple Intellegences Inventory
2. Post-it Pile Up

Success Criteria
Completion of Post-it Pile Up activity.

Materials Needed

• Multiple Intelligences Inventory
• poster paper
• Post-It Notes
• marker

Lesson Plan
The idea of multiple intelligences was theorized by Howard Garner who taught that, "instead of defining themselves as either 'smart' or 'dumb' students can perceive themselves as potentially smart in a number of ways" (Gardner in Hume, 73). By establishing that everyone in class has a number of strengths in a number of areas, teachers can design their lessons to incorporate a variety of learning styles in order to ensure student success in a number of ways.

Multiple Intelligences Post-it Pile-up

Prior to the lesson, search on the web or ask colleagues for copies of multiple intelligences inventories. You will find one in a number of print resources, such as Hume, Gregory and Chapman (35), or online (McKenzie). Decide on one that best suits your needs and make enough copies for distribution in your class. Explain to students that they are about to complete a multiple intelligences inventory in order for you to better understand their learning styles. Explain that, in addition, there will be times they will be given a choice in activities and this will help them to decide in which activities they will be most successful.

Allow students time to complete the questionnaire. While students are completing the questionnaire, tape poster paper to the wall or chalkboard. Divide each sheet of poster paper into 4 or 6 sections and label each section with a different learning style (i.e., Verbal/Linguistic, Intrapersonal, Logical/Mathematical, Visual/Spatial, Interpersonal, Bodily/Kinesthetic, Musical/Rhythmic, and Naturalist). When students have completed their questionnaire, distribute 2 or 3 Post-it Notes to each student. Instruct students that they are to put their name on each Post-it and place each one in the correct square on the poster paper.

Collect this information and use it to help guide your practice. For example, if you have no one that claims to be Musical/Rhythmic or Naturalistic, then you don't have to plan for this learning style. If, however, you have a large proportion of Visual/Spatial learners, then prepare to plan for this learning style. When creating assignments with a choice, ensure that the top categories are given the most choices.

After: YRDSB Great Beginnings Summer Institute, 2010.

Works Cited
Gregory, Gayle H. and Carolyn Chapman. Differentiated Instructional Strategies: One Size Doesn't Fit All. Second Edition. Corwin: Thousand Oaks.

Hume, Karen. Start Where They Are: Differentiating for Success with the Young Adoloescent. Pearson: Toronto. 2008.

McKenzie, Walter. Multiple Intelligences Survey. The One and Only Surfaquarium: http://surfaquarium.com/MI/inventory.htm. <http://www.uwec.edu/esl/minors/TESOL/FLG378MI%20inventory.pdf>. 1999.

Board Initiatives I Have Known

The terminology of pedagogy is an intersting animal. Though I'm sure you must be familiar with each of the concepts here, you or your board may refer to them differently. "A rose by any other name..." and so on. Here are but a few of those I try to employ into my daily routine:

Learning Targets, Achievement Criteria and Agendas
Each of my lessons begins with a listing of learning targets, achievement criteria, and a daily agenda. How the learning targets are framed is a discussion still in progress. The general consensus is to re-phrase the ministry learning expectations into language that is student-friendly. At my school, we have discussed the possibility of using report card comments as learning targets and/or critical thinking questions. I'm not sure how to phrase my learning targets yet, so there will probably be a combination of all three techniques represented in the lesson plans posted here.

Achievement criteria refers to the measurable evidence the teacher will collect during and after the lesson that proves the students have met each of the learning targets. This can be as simple as a show of thumbs up/thumbs sideways/thumbs down by the students, exit cards, or some other diagnostic or formative assessment tool collected and assessed by the teacher.

Agendas save you from having to answer the question of "what are we doing today" as each and every one of your students rolls into class. Eventually, they get the hang of looking at the board when entering the class before asking you questions.

Gradual Release of Responsibility
 If you have experience with teenagers these days, especially if you teach, then you know that they are reluctant to think for themselves and take chances. I explain the concept of gradual release of responsibility to my students as I use the technique. What this means is completing a task multiple times. The first time, the teacher models the task. The next time, students complete the task with the teacher's help and in pairs or small groups. The next time, the student completes the task with the teacher's help and on his own. The teacher takes in the formative piece and offers written (and/or verbal) feedback by way of assessment. The next time students complete the task, it is on their own and with minimal help from the teacher. The final time the task is completed, the teacher has released responsibility of completion entirely to the student. Students hate this technique, but they eventually realize it's for their own good and in order to help them become independent critical thinkers (though you may have to remind them of this each and every time).

Differentiated Instruction
The concept of differentiated instruction means different things to different people. Essentially, it means teaching according to students' learning styles, that much is clear. But it is how this is interpreted that causes much grief in teaching circles. Most agree this does not mean providing each student with an individual learning plan, but teaching a variety of ways in order to appeal to as many learning styles as possible. This means that, though it may be okay to stand in front of the class and ask them to copy notes from the board or make their own notes as you lecture once in a while, it should not be your primary means of delivering a lesson. Not all students are literary learners; you must also conduct lessons that will reach your kinaesthetic learners, your visual learners, your verbal learners, your mathematical learners, your spatial learners, your auditory learners, and so on. I have found that I rarely use the chalkboard anymore, which, in my opinion, is a good thing.

How do you know the types of learners you have in your class? At the start of the semester, I carry out a learning skills inventory lesson that I will outline here. This lets you know the proportion of visual learners to linguistic learners to auditory learners, etc. It also shows the students that you are interested in the way they learn and in seeing each and every one of them successful at the end of the semester.

Assessment Of/For/As Learning
This is also something I'm sure many of us do, though the terminology of it seems to change every decade or so.

"Assessment For Learning" refers to the diagnostic and formative work we do daily in class. Again, for the sake of common terminology: diagnostic assessment refers to any work that is not counted in the final tabulation of marks but that teachers are assessing for student achievement of expectations. This is often completed at the start of a unit to see how much students already know about a topic so the teacher is not teaching materials with which students are already familiar, or in the middle or at the end of a unit to see if students are on track and if the teacher is okay to move forward in the curriculum (i.e., that expectations have already been met).  Formative assessment describes work that is the scaffolding, practice and planning for the work that will be taken in and assessed at the end of the unit. The teacher collects this work and offers feedback, but does not usually assign a mark. If a mark is assigned, it is for reference only and is not counted in the final tabulation of marks.

"Assessment Of Learning" refers to the final, summative work that is collected at the end of a unit. This is generally an extension of the formative work, or the final, polished, independent piece produced after modelling the activity during formative assessment stages. Summative work is assigned a mark and is counted toward the final tabulation of marks.

"Assessment As Learning" refers to the metacognative work that students do throughout the semester. This is often in order for students to assess their own learning and set learning targets of their own for the next unit or stipulated length of time. The teacher may collect the work and provide her own feedback, though this is not required. This work is intened as student self-reflection in order to help them improve their learning technique and figure out what works best for them in the learning environment.

Why Gender Matters

A few years ago, my board began an initiative based on the findings of Dr. Leonard Sax which found that boys learn differently than girls. The theory behind this work is that boys' brains are different than girls by virtue of anatomy and rate of development, which affects how they learn (Sax 14). In order to help boys to be successful, Sax suggests the teacher employ the following techniques when teaching boys:

• Sit down next to boys when helping them, spreading out the materials in front of you while adopting a shoulder-to-shoulder stance. Avoid eye contact unless disciplining and don't smile (Sax 86).
• Avoid small group learning (Sax 87).
• Speak loudly; seat boys at the front of the class as boys don't hear as well as girls (Sax 88).
• Make sure the work is relevant and has intrinsic interest or boys will not complete their work (Sax 81).
• Boys are more kinaesthetic than girls and they enjoy competition as this is similar to the way they play (Sax 83). This should be taken into consideration when planning lessons.

Sax suggests that coed classes shortchange boys and girls because they learn differently and mature at different rates (Ripley 5). Boys are less likely to ask for help in mixed gender classes lest they be perceived as being less cool or appear as stupid in front of the girls in the class. Boys were also more likely to act out when they were in mixed gender classes in order to cover for their shortcomings (Sax 242). In order to test Sax's theories and collect data, grade 9 students are separated into three streams for the core curriculum: all girls classes, all boys classes, and mixed gender classes. Students follow through with the same stream until graduation. Last year I had the pleasure to teach classes in each of these streams and the results were eye opening.

While teaching the all boys class, my observation was that boys are indeed less mature than girls. Whereas girls are most always prepared for the lesson and expect to take notes and to have homework, many boys routinely attend class without paper, pencil or notebook. Contrary to what you might think, boys tended to be less independent than girls, and it was a constant struggle to get boys to operate independently of the teacher and each other. Routine was difficult to establish and the smallest disruption in the class (be it a call from the office, an unexpected remark or a sneeze) set the whole class into a frenzy. That's not to say that the all boys class wasn't without its rewards. The boys were very social which meant it was easy to build a rapport with them (much easier than in the all girls class). Once the rapport was built, they were eager to complete any and all activities, be it paper and pencil work or a kinaesthetic activity. Occasional surprise rewards for scholarly behaviour helped motivation (as did the occasional threat to call home). On the whole, the experience was entirely enjoyable.

That's not to say that this method of instruction doesn't have its detractors. Some people suggest that, if the teacher uses instructional techniques that accommodate the learning styles of both genders, there is no need for same-sex classes. They argue that there is the potential to stereotype, making assumptions about how the group will learn as a single body, rather than as individuals (Rutka), but this negates another concept my board has embraced, that of Differentiated Instruction (which I will discuss in my next post).

The purpose of this blog is to document the journey I took this past semester while teaching the dreaded Shakespeare/Drama unit in my grade 10 academic, all boys English class, as well as my continuing journey as I teach the all boys class in the coming year. I have chosen to focus on the Macbeth unit, as it is one I enjoyed teaching, and one I thought worked well. I may expand this in the future to include essay writing, short stories, and To Kill a Mockinbird, time and response permitting. I will try to include as many references as I can and apologize in advance for those I have misplaced and cannot provide. If you recognize your own un-cited work, please let me know and I will correct the problem immediately. If this blog helps you to teach Macbeth or any Shakespearean unit in your class, whatever the gender make-up, please share it here as well.

Works Cited
Ripley, Amanda. Who Says A Woman Can't Be Einstein? Time Magazine. 27 Feb 2005. <http://www.time.com/time/magazine/article/0,9171,1032332-1,00.html>. 2011.

Rutka, Mari. A case against single-gendered schools. The Toronto Star. 31 May 2011. <http://www.thestar.com/opinion/letters/article/1000395--a-case-against-single-gendered-schools>. 2011.

Sax, Leonard. Why Gender Matters. Random House: New York. 2005.