This course is facilitated wholly online within the D2L/Brightspace learning management system, so some vocabulary used, such as "discussion," is intended to align with the language used in that platform. Because this course is run asynchronously but students are still expected to attend synchronous sessions for enrichment, targeted remediation, or tutoring, supplemental resources and discussion ideas are presented for instructors. Videos and images may be posted or sent to students prior to synchronous sessions, or they may be presented during class, depending on the time involved to view materials and the need for the "surprise" factor that is key to several of these terms. Synchronous sessions are recorded and posted for students who are unable to attend or who would like to review material at any time during the term. Instructors whose course operates wholly asynchronously should move these resources into the student learning module column. 

Course objectives, based on Bloom's taxonomy, are given to students in this lesson. It is important to note that much of the higher level Bloom's will not be demonstrated within the discussion posts for this learning module. The objective italicized below is intended for the subsequent modules that guide students through the various reading assignments of this course. It is my aim to adapt these modules to include more collaborative elements as well.

• comprehend the different Gothic concepts (terror, horror, sublime, uncanny, grotesque, and supernatural), and
• apply your comprehension of different Gothic terms to your own experiences, and
• analyze the Gothic terms within a text both individually and collaboratively (annotation, discussion, and peer review), and
• participate in the creation of a class wiki intended to be a source of knowledge sharing.

Materials needed: computer (laptop or desktop) with Office 365 capabilities, working internet connection, printer (optional), headsets or earbuds (optional).

Anticipated duration and justification: The terms in this module are necessarily presented to students before they begin the reading selections in the course, so the first six lessons are intended to take 12 consecutive school days, but the collaborative project at the end will take place over the course of the readings so students have time to compile the appropriate information for submission, peer editing, and review processes as they read. Students are expected to log one hour of attendance per course per school day, so the content of lessons 1.01 through 1.06 are designed with the intent to take place over a two-day period each. The flexibility and ongoing openness of the unit allows students an opportunity to set something of their own schedule within the parameters of the school requirements, including locking dates. With the number of students I have in a given semester who are working part- or full-time, the flexibility of not participating in a discussion update allows them to become current or work ahead.

Common Core State Standards (CCSS) addressed throughout the unit:

CCSS.ELA-LITERACY.RI.11-12.7: Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.

CCSS.ELA-LITERACY.SL.11-12.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11-12 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

• CCSS.ELA-LITERACY.SL.11-12.1.A: Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
• CCSS.ELA-LITERACY.SL.11-12.1.B: Work with peers to promote civil, democratic discussions and decision-making, set clear goals and deadlines, and establish individual roles as needed.
• CCSS.ELA-LITERACY.SL.11-12.1.C: Propel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative perspectives.
• CCSS.ELA-LITERACY.SL.11-12.1.D: Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and determine what additional information or research is required to deepen the investigation or complete the task.

CCSS.ELA-LITERACY.SL.11-12.2: Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data.

CCSS.ELA-LITERACY.L.11-12.6: Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

CCSS.ELA-LITERACY.W.11-12.7: Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

CCSS.ELA-LITERACY.W.11-12.8: Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the strengths and limitations of each source in terms of the task, purpose, and audience; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and overreliance on any one source and following a standard format for citation.

CCSS.ELA-LITERACY.W.11-12.9: Draw evidence from literary or informational texts to support analysis, reflection, and research.

Due to the specific nature of the Gothic genre, students are expected to examine the literature beyond the traditional approach noted by most of the CCSS. As such, there are no ELA literature standards that match this module. Instead of a higher quantity of standards to meet, students are expected to dig deeper and exceed traditional ELA classroom expectations in the few standards they are tasked with.

Additional CCSS that may be addressed within the module and the course: http://www.corestandards.org/ELA-Literacy/

In this introduction, students are asked to complete a Gothic Literature Prior Knowledge Survey. This will help the teacher gauge how much experience, if any, the students have with the genre and the specific reading selections in the course. The genre and the material does not need to be new to students, but it is important to have this data to better guide some students to new and challenging material instead of going back to what is comfortable. Gothic literature is about sitting in discomfort; if a student has already read Frankenstein, they will be advised to examine one of the other reading selections for their wiki submission. Further, this survey can provide insight into student experience in discussion threads, collaborative projects, and other elements of this module that have to this point not been the norm for online learning. Student concerns and reluctance can, then, be dealt with before the students delve much further into the course. Finally, depending on the needs of the school and the students, it can serve as a release condition to open up the rest of the course. This survey is currently housed as a Google Form; teachers using the D2L platform should create a Quiz (not a Survey) in the course instead.

Length requirements for discussions are implemented because online students often have difficulty submitting sufficient information to offer the reader clear insight to their line of reasoning. 

It should be noted that the second novel the students will read was originally titled Strange Case of Dr Jekyll and Mr Hyde. The definite article was added later. This learning module will use the original title.

The following rubric is intended to be attached to a single gradebook item to score student participation in the discussion threads. This can be updated throughout the process or at the end. In its current form, this rubric is purposefully quantitative in nature because the purpose is to assess that students have engaged rather than how well they engage; there are other opportunities within the course to have more qualitative assessments. However, instructors may want to include more qualitative criteria or criteria that mimics state writing assessment rubrics, such as that for the AzMERIT writing exam.

Gothic Literature Discussion Participation Rubric

In this introductory lesson, the students are invited to learn about Gothic literature by tying it to something they have already experienced. Because this is an elective course, Rosseau's charge to "rouse" a student's curiosity should have already been met, so this module is now the time to draw the student in by asking them what they already know about it so they can then determine what else they want to learn.

This update, and subsequent updates through 1.06, are deliberately structured to be repetitive in nature so students can better create a habit of discussion participation. They will interact with a brief introductory text, view at least one video introducing the term, and explore further reading materials collected from easily accessed (that is, not paywalled) sources, including blogs, magazine articles, and more, although these sources are balanced with more academically minded ones. They are asked to bring their perspective and interact, asynchronously, with their peers by posting discussions, commenting on others' threads, and responding to both as required.

Struggling students should be invited to targeted intervention sessions to determine areas of needs and offered the opportunity to revise, correct, and further clarify to demonstrate comprehsnion. As noted in the previous section, the videos and other supplementary material in this column are reserved for this, but if instructors so choose, they may be placed into the learning module for all students. However, it is a best practice to offer different perspectives when offering a "re-teach" or "re-learn" opportunity rather than to simply repeat what has already been presented.

Advanced students should be guided to look past the obvious for posting and discuss Gothic elements in the less obvious (see the comment on Disney Junior programming in 1.02 as an example). These students may also be offered enriching reading material, such as graphic (generally) abridged versions of the reading material to offer additional layers for examination of terms.

Supplementary materials (for either struggling or advanced students) to discuss different experiences with the Gothic during a synchronous session can include viewing of "One Winter's Night," a Gothic short film, in conjunction with the Gothic Conventions and Motifs chart. Students can look for elements they already are starting to recognize as Gothic or practice as they approach mastery.

(Boyle, 2011)

Teachers should encourage students to also pay close attention to music, font, and coloring for any video example in this module. The minor key to the music in this short and the asymmetrical font of the few words on screen add to the unsettling feeling. More information about why minor music is considered "sad," which is more appropriate for the Gothic, can be found in this blog post by an expert in musical psychology.

If students are interested in pursuing more examples of Gothic/minor music during a synchronous session, using Bach's Toccata and Fugue in D Minor can be an excellent example. Students can address the convetions and motifs they imagine while listening to the Baroque piece. This can lead to exploration of cultural influence on the genre, which at some point can be a useful segue in discussing the cultural prevalence of the three larger works (Shelley, Stevenson, and Stoker) and how there is prior - yet incomplete/incorrect - knowledge for all three based on popular culture.

(MovieMongerHZ, 2010)

The teacher can and should participate in discussion commentary, using questions and tentative language to draw out specific details from students as necessary. This may be student's first experience with discussion forums, and they may benefit from being encouraged to elaborate and reclaim their voice in this process.

These two terms should not be used interchangably while reading Gothic literature; terror is the emotion that forms the foundation for the reading selections in the course, and students will need to be able to parse the two to acknowledge the very different emotions as they experience them.

It is further important that students comprehend that neither is solely in the realm of fear. Both terror and horror fall under the "fear" umbrella, but it's difficult for first-time learners to acknowledge that feelings of concern or disgust are also fear reactions.

Supplementary materials to discuss the difference between terror and horror during a synchronous session can include:

• "Miriam," by Truman Capote (terror)
• "Bleeding Stones," by Harlan Ellison (horror)
• excerpts from Mysteries of Udolpho, by Ann Radcliffe (terror)
• excerpts from The Monk, by Mathew Lewis (horror)
• "The Monkey's Paw," by W.W. Jacobs (terror and horror)

Clips from television series such as Stranger Things and Doctor Who can also offer examples of terror and horror, although finding examples from series or films that are not Gothic in nature can convey the prevalence and impact both terror and horror have for audiences. The seemingly innocuous Disney Junior series Doc McStuffins provides excellent examples of both in its representations of stuffed animals having possible illnesses or maladies (terror) and moments of shock (horror) when toys are broken or otherwise harmed on screen, necessitating Doc's assistance. Clips that can be examined throughout this module to address all the terms can also be useful. One that works well is the Scooby Doo, Where Are You episode "A Night for a Knight," (S1E1). It is available in a four-part playlist on YouTube; it is recommended that teachers use SafeShare if not embedding within a platform. It is important to present Scooby Doo at some point during the module, as the series is considered to have been pivotal for the popularity of contemporary Gothic studies, without which this course may not have been an option.

(Scooby-Doo Where are you - Topic, 2019)

The teacher should continue participating in discussion commentary, using questions and tentative language to draw out specific details from students as necessary.

This term may be difficult for students to separate from their more pedestrian understanding of it. It is important for the teacher to guide students toward understanding that the sublime offers a sense of beauty but that sense can be tinged by more negative emotions. Regardless of the emotion felt, it should be in such quantities that it is overwhelming to the person and difficult to articulate.

Supplementary materials to consider the sublime during a synchronous session can include a tour of the Grand Canyon for a more positive experience:

(Around The World 4K & Around The World 4K, 2014)

Synchronous discussion can center around how one might describe the Grand Canyon's size to someone who has never been there.

A more negative example of the sublime can be considered by watching and discussing footage of Hurricane Michael:

(Tornado Trackers, 2018)

Synchronous discussion can center around how one might describe the power of a hurricane to someone who has never experienced one.

Supplemental examples from literature include:

• "Darkness," by George Gordon, Lord Byron
• "Ode to the West Wind," by Percey Bysshe Shelley"

Both these literary examples can be returned to during the reading of Frankenstein; Mary Shelley wrote her novel over a summer spent with her husband and Lord Byron on the shores of Lake Geneva in Switzerland; students may be encouraged to look for their influence within the novel.

The teacher should continue participating in discussion commentary, using questions and tentative language to draw out specific details from students as necessary.

The notion of explaining that which is uncanny is a paradox; the reasons an object, person, or situation is considered uncanny lie within someone's inability to "put their finger" on how it's familar, rendering description difficult. Student cannot allow themselves to get caught up on only describing why something is uncanny and should move toward acknowledging and describing the feelings they experience. It is, after all, the feeling experienced that is the uncanny.

Supplementary materials to consider the uncanny during a synchronous session may help student comprehension by examining something less uncomfortable: Big Bird's performance on the program Lip Sync Battle. As an entity on Sesame Street for over 50 years, most students will associate Big Bird with the voice of the late Carol Spinney, as heard on the clip from Between the Lions. When the voice of single Michael Buble comes out in the second clip, there is a disconnect - a discomfort - between what is expected and familiar from the Muppet and what audiences actually hear.

(Angry Sheep Studios, 2018)

(Lip Sync Battle, 2019)

Students may also choose to connect a similar experience from Shrek 3 when Donkey and Puss switch bodies.

(anymonkeywrench, 2008)

In both these instances, students can find the humor but should also acknowledge a sense of "something isn't right." Students should be encouraged to examine the uncomfortable feeling despite understanding the logical reasons behind the two (Big Bird is a puppet, so the device we personify as Big Bird is "lip syncing" all the time anyway; in a previous scene we see Puss and Donkey switch so in some sense we are prepared, but as this is the third installment of the film, expectations have been managed).

Further enrichment can be prompted by asking about voices of characters students recognize but can't place, faces of actors they've seen before but can't recall, and even the reality show The Masked Singer, the premise of which is based upon the former. If applicable, students are given the opportunity to use this show as one of their discussion options; this can also spill over to synchronous session discussion if the students are so inclined.

Cross-curricular opportunity: students taking a psychology course can examine Freud's The Uncanny; despite being published after the end of the Gothic era, students may be better able to apply the concept after examining it more clinically. This may be an enrichment opportunity for advanced students.

The teacher should continue participating in discussion commentary, using questions and tentative language to draw out specific details from students as necessary.

To differentiate between the uncanny and the grotesque, students will want to consider tangible objects being distorted as grotesque, while uncomfortable feelings of familiarity are considered uncanny.

During synchronous sessions, the instructor may want to encourage students to discuss why the image of Beyonce's wax figure was grotesque (it may be necessary to explain that a grotesque is not necessarily repulsive or "gross") and how the grotesque of Benjamin Franklin distorts his image yet retains the familiarity of famous images.

An ideal example for supplementary examples/resources/topics of discussion during a synchronous session is the political cartoon. In the interest of neutrality, cartoons from the 19th and early 20th centuries are recommended over contemporary ones. Discussion should center on the intent behind the distortions made and the impact the end result had on audiences (especially voters).

• The Library of Congress has a curated collection of political cartoons from 1800-1899 here.
• The National Archives has an article and examples of political cartoons from the election of 1912 here.

Cross-curricular opportunity (if applicable): review the election of 1912 and why it is a particularly good example of the grotesque/distortion.

The teacher should continue participating in discussion commentary, using questions and tentative language to draw out specific details from students as necessary.

At this point, it is advisable to return to the Scooby Doo, Where Are You episode from earlier in the module as a supplemental opportunity for students. Not only can they continue to identify the different terms of the unit, but the episode, as with all other episodes from the series, demonstrates both the possibility of the supernatural over the course of an event and the natural, more rational (and more human) solution. This exemplifies the methods of Ann Radcliffe in her Gothic novels such as Myteries of Udolpho and The Italian. Students had the opportinity to examine the former in a synchronous session covering terror.

In discussing Scooby Doo, Where Are You, the students shoud be given the opportunity to discuss the ease with which the supernatural is suggested for the reason behind the characters' mystery, the sort of comfort that reasoning offers, and the absolute clarity and new comfort once the supernatural is revealed to be a ruse. Students may also want to consider why there is a discomfort in acknowledging the supernatural and how the resolution of a problem is made more difficult.

Struggling students should be encouraged to create a list of possible supernatural entities, both positive and negative ones. This illustrates that there can be both malevolent and benign possibilities, even in Gothic literature. 

The teacher should continue participating in discussion commentary, using questions and tentative language to draw out specific details from students as necessary.

Once students have made their reading/term selection, they should be placed into groups for appropriate lesson conditions to be released to them. Groups will be by reading selection (Frankenstein, Strange Case of Dr Jekyll and Mr Hyde, Poetry and Poe, and Dracula), although the teacher may want to also assign groups by term. There will be a lesson shell assigned to just those group members within the respective unit for the students to work on their wiki entry, although the teacher should contact the students within each group at the beginning of the unit to encourage them to work on the entry as they read. The teacher may want to add reminders within the unit’s lessons that are released only to the appropriate group members.

Synchronous small group workshopping and tutoring sessions should be scheduled regularly for the students to attend to work on their wiki entries with guidance from each other and the teacher; however, the teacher should refrain from “pre-grading” any entries.

Alternate time management option: depending on how well students are at self-regulating and managing their time, 1.07-1.09 may need to be placed into different learning modules, as appropriate per school policy on due dates and locking dates.

D2L does not allow random peer editing assignations, so students will need to have wiki entries assigned to them. It is recommended that a grouping category is created before the beginning of the semester, and when students are enrolled in the course, the teacher add one student to each “group.” Pre-built lesson shells that include the peer review directions, tutorials on using Tracking Changes, and the peer review rubric should be created. Though some of these are avilable in this update, having a document in two places to download creates a greater likelihood that students who struggle with online navigation will be able to find and use them. As soon as wiki entries are submitted, the teacher can release them to the appropriate peer reviewer. A tutorial video demonstrating the process, and each subsequent step, may prove beneficial.

Once reviews are returned to the appropriate dropbox, the teacher will then release these to the original authors for revision.

Teachers are required to have items on the Class Plan (calendar) for each school day. The days students are expected to complete their peer reviews will be noted as such on the Plan. There will be two days for the peer review completion, one for each peer review, with the reviews being scheduled due at the end of the second day. Students will be encouraged to take approximately 30 minutes to complete each peer review, which will fall within the attendance requirement for the school day.

Teachers should contact students who have fallen behind to notify them about this assignment and to prioritize these over their own Gothic Literature course work, but it is not recommended that students should place these as a priority over all other courses.

Synchronous small group workshopping and tutoring sessions should be scheduled regularly for the students to attend to better understand how to use Microsoft Tracking Changes and Excel.

This step is dependent upon teacher turnaround, so final draft submission scoring should take priority. Students will only need a short amount of time to submit to the wiki site; however, embedded tutorials should complement scheduled synchronous sessions to assist students who have difficulty. The Class Plan should include a publication work day with the actual due date several days later to allow for tutoring, etc.

Synchronous small group workshopping and tutoring sessions should continue for the students to better understand how to use Excel and add to format the class wiki.

The following rubric is intended to be attached to the final draft dropbox to score the final draft and to approve publication or request further revision.

Gothic Literature Wiki Entry Final Approval Rubric

The following rubric is intended to be attached to a single gradebook item to score student participation in the wiki creation process. This can be updated throughout the process or at the end.

Gothic Literature Wiki Participation Rubric