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D4.3.9-12C3 FrameworkSocial StudiesCommunicating and Taking ActionGrades 9-12

D4.3.9-12: Presenting Evocative, Fair Adaptations for Many Audiences

In plain English: D4.3.9-12 is the C3 Framework inquiry indicator for grades 9-12 that asks students to present adaptations of arguments and explanations featuring evocative ideas and perspectives to a range of audiences and venues outside the classroom, in print, oral and digital forms, while keeping every voice attributed and every fact accurate.

Present adaptations of arguments and explanations that feature evocative ideas and perspectives on issues and topics to reach a range of audiences and venues outside the classroom using print and oral technologies (e.g., posters, essays, letters, debates, speeches, reports, and maps) and digital technologies (e.g., Internet, social media, and digital documentary).

C3 Framework for Social Studies (NCSS) · Dimension 4: Communicating Conclusions and Taking Informed Action · Communicating and Critiquing Conclusions · Official standard

01

Lesson Plan

75-80 min

Overview

Students present adaptations of arguments and explanations that feature evocative ideas and perspectives: images, stories and voices that make an audience feel why an issue mattered, drawn from people who saw it differently. They adapt the same material for a range of audiences and venues outside the classroom, in print (exhibit panels, posters, letters), oral forms (speeches, debates, podcasts) and digital forms (web pages, digital documentaries), and they keep every evocative choice accurate and fair.

The vehicle is the 1906 fight over meatpacking and food safety. The sources are a passage from Upton Sinclair's novel The Jungle, the reply of J. Ogden Armour, head of Armour and Company, a stockyards worker's own account recorded by the writer Ernest Poole, and the histories of the 1906 food law written by the House of Representatives and the Food and Drug Administration. The topic is a vehicle for the skill; the same steps work for presenting any historical issue to museum visitors, listeners or online viewers.

Learning Objectives

By the end of this lesson, students will be able to:

  • Identify the argument, the explanation and the evocative ideas in sources that take different perspectives on an issue
  • Adapt arguments and explanations for a range of audiences and venues outside the classroom using print, oral and digital technologies
  • Use evocative language, images and quotations while keeping attribution, genre and data accurate
  • Present more than one perspective fairly, and judge which adaptation fits which audience

Prior Knowledge Required

Students should already be comfortable with:

  • Presenting adaptations of arguments and explanations to audiences outside the classroom D4.3.6-8
  • Constructing explanations and judging them by their purpose D4.2.9-12
  • Producing writing whose development and style fit task, purpose and audience WHST.11-12.4

Lesson Procedure

75-80 minutes of class time across 5 phases.

  1. Warm-Up10 minutes

    Warm-Up Prompt

    "A museum has room for one sentence on the wall about a factory fire. Write it once to make visitors feel the loss, and once to make them understand the cause. Can one sentence do both? What would make an emotional sentence unfair?"

    Collect a few pairs. Name the two pulls of the indicator: evocative ideas (details, images and voices that stir an audience) and accurate, fair perspectives. Students usually see that the most moving sentence is often a specific person's words or a concrete detail, and that it becomes unfair when it hides who is speaking or bends the facts. Introduce the indicator and today's question: how should the 1906 fight over meatpacking be presented to people outside school?

  2. Direct Instruction25-30 minutes

    Part 1: The issue and the voices. In 1906 Congress passed a meat inspection law and a food and drug law, and Source 5 calls the conditions Sinclair "captured in The Jungle" the "final precipitating force behind both." Each source speaks from a different position, and each is a different kind of text. An adaptation must tell its audience which kind it is quoting: a novel, a company's defense, a worker's account recorded by a writer, or a government history.

    Source Information: who speaks in each source, what kind of text it is, and what to tell an audience
    SourceWho speaksKind of textWhat an adaptation should say
    1: The JungleUpton Sinclair, through his charactersNovel (fiction based on Chicago's packinghouses)That it is a novel, not a news report
    2: The PackersJ. Ogden Armour, head of Armour and CompanyA company leader's defense, first printed as magazine articlesThat he is defending his own industry
    3: Life Story of a LithuanianA stockyards worker, under a pen nameA first-person account recorded by the writer Ernest PooleThat the words reached print through an interviewer
    4: The Pure Food and Drugs ActThe House of Representatives' Office of the HistorianA government history pageThat it is a modern summary
    5: The 1906 Food and Drugs ActThe Food and Drug AdministrationA government agency's history of its own lawThat the agency is describing its own origins

    Part 2: Read the sources. Students read in a jigsaw (one perspective per group) and mark three things in their source: its argument, its explanation, and its most evocative line. Terms: packers (meatpacking companies), consumption germs (germs of tuberculosis, called consumption in 1906), hoppers (funnels that fed meat into grinders), branch house (a packer's local warehouse that sold to butchers), condemned (rejected by inspectors as unfit), Meat Trust (a name critics used for the large packing companies), grafters (people who cheat for money), muckraking journalists (reporters who exposed wrongdoing), Wiley (Harvey W. Wiley, who led the Bureau of Chemistry that the FDA page names).

    How the texts were prepared: Sources 2 and 3 are typed exactly from the page scans of their 1906 books, Source 1 comes from the Project Gutenberg text of the 1906 novel, and Sources 4 and 5 are copied from the House and FDA pages; [...] marks every place where words are left out. The worker in Source 3 says at the start that Antanas Kaztauskis "is not my real name." Source 1 describes rats and spoiled meat in graphic detail; preview it before class and prepare students for it.

    With one member trimming beef in a cannery, and another working in a sausage factory, the family had a first-hand knowledge of the great majority of Packingtown swindles. For it was the custom, as they found, whenever meat was so spoiled that it could not be used for anything else, either to can it or else to chop it up into sausage. With what had been told them by Jonas, who had worked in the pickle rooms, they could now study the whole of the spoiled-meat industry on the inside, and read a new and grim meaning into that old Packingtown jest—that they use everything of the pig except the squeal.

    [...]

    It was only when the whole ham was spoiled that it came into the department of Elzbieta. Cut up by the two-thousand-revolutions-a-minute flyers, and mixed with half a ton of other meat, no odor that ever was in a ham could make any difference. There was never the least attention paid to what was cut up for sausage; there would come all the way back from Europe old sausage that had been rejected, and that was moldy and white—it would be dosed with borax and glycerine, and dumped into the hoppers, and made over again for home consumption. There would be meat that had tumbled out on the floor, in the dirt and sawdust, where the workers had tramped and spit uncounted billions of consumption germs. There would be meat stored in great piles in rooms; and the water from leaky roofs would drip over it, and thousands of rats would race about on it. It was too dark in these storage places to see well, but a man could run his hand over these piles of meat and sweep off handfuls of the dried dung of rats. These rats were nuisances, and the packers would put poisoned bread out for them; they would die, and then rats, bread, and meat would go into the hoppers together. [...]

    Upton Sinclair, The Jungle, chapter XIV (Source 1: Upton Sinclair's novel about Chicago's packinghouse workers, 1906) (1906). Public domain (published 1906). Source text.

    We would hear less criticism of the packers if consumers could follow a steer from pen to slaughter-house, see it converted into “quarters” and “cuts” and hung in the cooler, transferred thence to a clean, cold car, transported under ice to the farthest part of the country, and finally deposited in the branch house. That would bring home to the consumer, as nothing else can, the fact that no part of the people’s food-supply receives more careful handling than does the meat that comes from the large packing-houses.

    In the absence of such a comprehensive inspection it would be a distinct benefit to the packers if the general public would take pains to visit and scrutinize the branch houses. They are always open to visitors. If there is a branch house of Armour & Co. in your vicinity, you are cordially invited to see for yourself just how the hated packer takes care of your meat-supply.

    [...]

    Government inspection is another important feature of the packers’ business. To the general public, the meat-eating public, it ought to appeal as one of the most important features of any and all business in the whole country. It is the wall that stands between the meat-eating public and the sale of diseased meat.

    This government inspection alone, if there were no other business or economic reasons, would be an all-sufficient reason for the existence of the packing and dressed-meat business on a mammoth scale. It should, if understood, make the general public a partisan supporter of the large packers.

    Strangely enough, in view of its vital importance, this government inspection has been the subject of almost endless misrepresentation—of ignorantly or maliciously false statements.

    The public has been told that meat animals and carcasses condemned as diseased are afterwards secretly made use of by the packers and sold to the public for food in the form of both dressed meats and canned meats.

    Right here I desire to brand such statements as absolutely false as applied to the business of Armour & Co. I believe they are equally false as to all establishments in this country that are classed as packing-houses.

    I repeat: In Armour & Co.’s business not one atom of any condemned animal or carcass finds its way, directly or indirectly, from any source, into any food-product or food-ingredient. [...]

    J. Ogden Armour, The Packers, the Private Car Lines, and the People (Source 2: the head of Armour and Company answers the critics, 1906) (1906). Public domain (published 1906). Source text.

    The Lithuanian, who told the following story of his life to Mr. Ernest Poole, is a workman in the Chicago Stockyards and gave his name as Antanas Kaztauskis.

    This is not my real name, because if this story is printed it may be read back in Lithuania, and I do not want to get my father and the ugly shoemaker into trouble with the Russian Government. [...]

    [...]

    The next morning my friends woke me up at five o'clock and said, “Now, if you want life, liberty and happiness,” they laughed, “you must push for yourself. You must get a job. Come with us.” And we went to the yards. Men and women were walking in by thousands as far as we could see. We went to the doors of one big slaughter house. There was a crowd of about 200 men waiting there for a job. They looked hungry and kept watching the door. At last a special policeman came out and began pointing to men, one by one. Each one jumped forward. Twenty-three were taken. Then they all went inside, and all the others turned their faces away and looked tired. I remember one boy sat down and cried, just next to me, on a pile of boards.

    [...]

    That night I told my friends that I would not do this many days, but would go some place else. “Where?” they asked me, and I began to see then that I was in bad trouble, because I spoke no English. Then one man told me to give him $5 to give the special policeman. I did this and the next morning the policeman pointed me out, so I had a job. I have heard some big talk since then about my American freedom of contract, but I do not think I had much freedom in bargaining for this job with the Meat Trust. My job was in the cattle killing room. I pushed the blood along the gutter. [...] One Lithuanian who worked with me, said, “They get all the blood out of those cattle and all the work out of us men.” This was true, for we worked that first day from six in the morning till seven at night. The next day we worked from six in the morning till eight at night. The next day we had no work. So we had no good, regular hours. It was hot in the room that summer, and the hot blood made it worse.

    I held this job six weeks and then I was turned off. I think some other man had paid for my job, or perhaps I was too slow. The foreman in that room wanted quick men to make the work rush, because he was paid more if the work was done cheaper and quicker. I saw now that every man was helping himself, always trying to get all the money he could. At that time I believed that all men in Chicago were grafters when they had to be. They only wanted to push themselves. Now, when I was idle I began to look about, and everywhere I saw sharp men beating out slow men like me. Even if we worked hard it did us no good. I had saved $13—$5 a week for six weeks makes $30, and take off $15 for six weeks' board and lodging and $2 for other things. [...]

    "Antanas Kaztauskis" (a pen name), as told to Ernest Poole, in Hamilton Holt, ed., The Life Story of a Lithuanian (Source 3: a stockyards worker's account, as told to Ernest Poole, 1906) (1906). Public domain (published 1906). Source text.

    On this date, the Pure Food and Drugs Act of 1906 (PL 59-384) passed in the U.S. House of Representatives, 240 to 17. Muckraking journalists had long reported on the appallingly unsanitary conditions of the country’s manufacturing plants, especially those in Chicago’s meat-packing industry. But it wasn’t until the public outcry following the publication of Upton Sinclair’s The Jungle that Congress moved on legislation that would prevent “the manufacture, sale, or transportation of adulterated or misbranded or poisonous or deleterious foods, drugs or medicines, and liquors.” The version of the bill which became the Pure Food and Drugs Act originated in the Senate (S.88), and after being sent to the House it was reported out of the Interstate and Foreign Commerce Committee with amendments on March 7th. It sat unconsidered for three months, causing some to wonder if Speaker Joe Cannon of Illinois was delaying it. On June 21st, with only a few days left to the session, Representative James Mann of Illinois captivated the chamber with a speech about fruit that had been colored with poisonous red dye, and liquor that had been distilled with chemical fillers. The New York Times called the debate over the Pure Food bill “one of the wildest times that has been seen this session.” After the measure passed, the House and Senate met in conference, settled their differences, and sent the bill back to their respective chambers for final consideration. Following a round of applause, the House approved the conference report on June 29th. President Theodore Roosevelt signed the Pure Food and Drugs Act into law the next day.

    U.S. House of Representatives, Office of the Historian, The Pure Food and Drugs Act (Source 4: the House of Representatives' Office of the Historian) (2026). US government work (17 U.S.C. 105). Source text.

    While Wiley was stumping for a law, muckraking journalists such as Samuel Hopkins Adams exposed in vivid detail the hazards of the marketplace. In fact, the nauseating condition of the meat-packing industry that Upton Sinclair captured in The Jungle was the final precipitating force behind both a meat inspection law and a comprehensive food and drug law. [...] Since 1879, nearly 100 bills had been introduced in Congress to regulate food and drugs; on 30 June 1906 President Roosevelt signed the Food and Drugs Act, known simply as the Wiley Act, a pillar of the Progressive era.

    This act, which the Bureau of Chemistry was charged to administer, prohibited the interstate transport of unlawful food and drugs under penalty of seizure of the questionable products and/or prosecution of the responsible parties. The basis of the law rested on the regulation of product labeling rather than pre-market approval. [...] Foods were not defined according to analogous standards, but the law prohibited the addition of any ingredients that would substitute for the food, conceal damage, pose a health hazard, or constitute a filthy or decomposed substance. [...]

    U.S. Food and Drug Administration, Part I: The 1906 Food and Drugs Act and Its Enforcement (Source 5: the Food and Drug Administration's history) (2019). US government work (17 U.S.C. 105). Source text.

    Part 3: Model the adaptations. Work through the five examples. Each adapts one argument or explanation for a named audience and venue, and shows how to keep its evocative power honest.

    • Print, for museum visitors: an evocative quotation with its genre (Source 1, paragraph 1)

      A history museum panel has room for one quotation from The Jungle. Which line, and what must go with it?

      Result: The "old Packingtown jest" that the packers "use everything of the pig except the squeal" is short and memorable. The label must add that it comes from a 1906 novel, so visitors know it is fiction drawn from Chicago, and one line of context from a government history: public outcry after the book helped push Congress to act (Source 4).

    • Oral, for a historical society: adapting the packers' argument fairly (Source 2, paragraphs 3-8)

      A speaker must present Armour's side to a room of adult history buffs. How?

      Result: Use his own evocative image, that inspection is "the wall that stands between the meat-eating public and the sale of diseased meat" (paragraph 3), and his flat denial that "not one atom" of condemned meat entered his products (paragraph 8). State plainly that he was the head of a packing company answering critics, then let the audience weigh it beside the other sources.

    • Digital, for online viewers: a worker's voice in a short documentary (Source 3, paragraphs 3-5)

      A two-minute digital documentary wants a worker's perspective. What should the narration and screen text do?

      Result: Read his scene at the gate, where about 200 men waited and "Twenty-three were taken" (paragraph 3), and his co-worker's line, "They get all the blood out of those cattle and all the work out of us men" (paragraph 4). On screen, show that the account was told to Ernest Poole in 1906 under a pen name. The voice is evocative because it is specific; the caption keeps it honest.

    • Oral, for lawmakers in 1906: why a concrete example persuades (Source 4)

      The House historian says Representative James Mann "captivated the chamber." What adaptation choice did he make?

      Result: He spoke about fruit "colored with poisonous red dye" and liquor "distilled with chemical fillers": concrete things his listeners ate and drank. An adaptation for any audience works the same way: choose the example closest to the listeners' own lives, and name its source.

    • A range of audiences: one explanation, three versions (Sources 4 and 5)

      How does the explanation "public outcry after The Jungle helped pass the 1906 laws" change for three audiences?

      Result: For eighth graders on a museum visit: one sentence and a picture of the book. For a historical society: add the House vote of 240 to 17 and the signing on June 30, 1906 (Source 4), and that nearly 100 bills had been introduced since 1879 (Source 5). For online viewers: a timeline graphic with links to both government pages. The explanation stays the same; the depth and form change.

  3. Guided Practice15 minutes

    Groups of four plan a four-panel museum exhibit titled "Meat, Money and the Law, 1906," using Diagram 1 as the plan for each panel. Each member drafts one panel for one perspective: the novelist, the packer, the worker, Congress. Each panel needs a title of no more than eight words, one evocative quotation with its speaker and kind of text, and two sentences of explanation. Then the group checks that no panel's title judges the issue for the visitor.

  4. Independent Practice15 minutes

    Each student adapts one argument and one explanation from the sources for two different audiences and venues of their choice, using a different technology for each (for example, a podcast segment for high school listeners and an exhibit poster for a public library). Each product must include at least one evocative idea, at least two perspectives, and a line that tells the audience what kind of source each quotation comes from.

    Look-fors for the teacher: evocative choices that come from the sources rather than invented drama; quotations attributed to the right speaker and kind of text; numbers unchanged; and real differences between the two products in length, vocabulary and form.

  5. Closure10 minutes

    Exit ticket: "Which evocative idea from today's sources would you use for an audience of ten-year-olds, and which would you leave out? Explain the difference."

    Teacher note on the sources: Source 3's narrator uses a pen name and names other immigrant groups in passages not printed here. The full chapter also includes language that reflects 1906 prejudice, including a stereotyped description of a Jewish clothing seller and the period term of 1906 for a Black union member; those passages are left out, and teachers who assign the full chapter should preview them. Students present the 1906 issue as history: the lesson takes no position on present-day food or labor policy, and students should not role-play the historical figures. All products stay within channels the teacher approves.

    Quiz passage. Questions 12-18 of the quiz use Source 6, four invented student drafts. Each draft is deliberately weak in one way, for students to judge and repair.

    These four drafts were invented for this page. Invented students wrote each one for a different audience and venue outside the classroom, using Sources 1-5. Each draft is deliberately weak in one way, so that students can judge and repair it.

    Draft A, a wall panel for a city history museum: "THE JUNGLE TELLS THE TRUTH. In 1906 Chicago's packers dumped poisoned rats into the sausage and sold it to the nation. Upton Sinclair saw it all, and his book proved it. Within months, Congress cleaned up America's food."

    Draft B, a script for a podcast for high school listeners: "In 1906 a book was published. It was called The Jungle. Some people liked it and some did not. A meatpacker wrote articles too. Then the House voted 240 to 17 for a food law, and President Roosevelt signed it on June 30."

    Draft C, narration for a two-minute digital documentary: "Even the packers' own leader admitted the truth. J. Ogden Armour wrote that 'meat animals and carcasses condemned as diseased are afterwards secretly made use of by the packers and sold to the public for food.'"

    Draft D, a speech for a local historical society: "Listen to the words of a real worker. Antanas Kaztauskis told how he worked fourteen hours every single day in the killing room, and how every worker was paid nothing at all. That is how the Meat Trust treated its men."

    SVHS (invented scenario written for this page), Four Draft Adaptations (Source 6: invented student drafts for the quiz, each deliberately weak). Original passage written for this page.

Differentiation Strategies

For Struggling Students

  • Assign one perspective and one product (an exhibit panel), with the quotation already chosen
  • Give a three-line template: "[Speaker], [kind of text], [year]: '[quotation]' What it shows: ___"
  • Pair Source 3 with Source 4 first: one person's story and one government summary

For Advanced Students

  • Plan a debate format for a public history night on the question "Was The Jungle a fair picture of the packing industry in 1906?" with opening statements built only from Sources 1-5
  • Storyboard a three-minute digital documentary that moves between Sources 1, 2 and 3 and uses Sources 4 and 5 for its narration, with on-screen attributions
  • Write a short note to a museum curator explaining which evocative line on this page is most likely to be misread by visitors, and how to label it

Assessment Guidance

What to Look For

Strong adaptations name their audience and venue; change length, vocabulary and form for each; feature an evocative idea drawn from a source and attributed to the right speaker and kind of text; include more than one perspective; and leave every number and quotation unchanged in meaning. Watch for adaptations whose power comes from invented drama rather than from the sources, that give only one side, or that sound the same for every audience.

02

Classroom Activities

3 Activities

1

The Four-Panel Exhibit

20 minGroups of 4 (one perspective each)

Each group builds a four-panel exhibit for a public library lobby, "Meat, Money and the Law, 1906," one panel per perspective in Diagram 1. Each panel has a title of no more than eight words, one evocative quotation with its speaker and kind of text, and two sentences of explanation drawn from Sources 4 and 5. The group then writes a ten-word sign for the entrance that invites visitors to compare the panels.

Rules

  1. No panel title may tell visitors which side was right.
  2. Every quotation is copied exactly and labeled with its speaker, kind of text and year.
  3. The two sentences of explanation must be supported by Source 4 or Source 5.

Look-fors for the Teacher

  • Novelist panel: the jest about the pig (Source 1, paragraph 1) or the sausage passage, labeled as a novel.
  • Packer panel: the "wall" image or the "not one atom" denial (Source 2, paragraphs 3 and 8), labeled as Armour's defense of his company.
  • Worker panel: the gate scene or the co-worker's line (Source 3, paragraphs 3-4), labeled as an account told to Ernest Poole.
  • Congress panel: the House vote and signing (Source 4) or the nearly 100 earlier bills (Source 5).

Discussion

Ask: which panel was hardest to title without taking a side? Did the most evocative quotation also come from the most reliable kind of source? Students usually find that it did not, which is why labels matter.

2

Evocative or Unfair?

15 minPairs

Pairs sort six possible exhibit captions into three piles: evocative and fair, flat but fair, and evocative but unfair. For each caption in the third pile, they write a fair version that keeps as much of its power as possible.

The Six Captions

  1. "Two hundred men at the gate. Twenty-three jobs." (a worker's account, 1906)
  2. "In 1906 the House passed a food law."
  3. "The packers fed America rats."
  4. "'The wall that stands between the meat-eating public and the sale of diseased meat': a packer defends inspection, 1906."
  5. "Sinclair's novel was the truth, the whole truth."
  6. "Since 1879, nearly 100 food and drug bills had been introduced; in 1906 one passed."

Answer Key for the Teacher

  • Evocative and fair: 1 (Source 3, paragraph 3), 4 (Source 2, paragraph 3), 6 (Source 5, paragraph 1).
  • Flat but fair: 2 (Source 4).
  • Evocative but unfair: 3 turns one novel's scene into a claim about all packers; 5 calls a novel "the whole truth." Fair versions: "A 1906 novel described rats ground into sausage"; "Sinclair's novel moved readers; the packers called such charges false."

Variation

Pairs that finish early write one caption for each pile about the House vote of 240 to 17.

3

Range of Audiences Remix

15 minGroups of 3

Each group takes one explanation, how public outcry after The Jungle helped pass the 1906 food law (Sources 4 and 5), and one argument, Armour's case that government inspection already protected the public (Source 2). Members adapt both for three audiences: a 60-second segment for a podcast for middle school listeners, the opening of a debate at a public history night, and a storyboard of four frames for a digital documentary.

Checklist

  1. Name the audience and venue at the top of each product.
  2. Feature at least one evocative idea from the sources in each product.
  3. Include Armour's argument fairly, and include at least one other perspective.
  4. Change vocabulary, length and form for each audience.

Sharing Outside the Classroom

The teacher selects products for approved venues, such as a school history night, the library display case or the school website. Students do not post on personal accounts and do not contact outside organizations without the school's approval.

03

Diagrams & Visual Aids

1 diagrams

Diagram 1: Perspectives to Audiences

Four perspectives, three audiences: planning a fair, evocative adaptation Perspectives (who speaks, what kind of text) Audiences and venues Novelist: Upton Sinclair Kind: a 1906 novel Line: everything of the pig “except the squeal” Packer: J. Ogden Armour Kind: a company leader’s defense Line: inspection is “the wall” for the public Worker: pen name, told to Ernest Poole Kind: a recorded first-person account Line: about 200 waited; 23 were taken Government: House historian, FDA Kind: modern history pages Line: outcry after the book moved Congress Print: museum wall panel For: eighth graders on a visit Depth: one quotation, one line of context, the kind of text Oral: historical society talk For: adults who know history Depth: both sides, the vote, the dates, quoted fairly Digital: two-minute documentary For: online viewers Depth: voices read aloud, with on-screen names and sources Every line keeps its speaker and kind of text; every number keeps its meaning.
The left column shows the four perspectives in Sources 1-5, each with its kind of text and one evocative idea from it. The right column shows three audiences and venues, each with the depth of detail it can hold. Every perspective can travel to every audience (the lines between them), but what goes with it changes: a museum panel carries one quotation and its label, a talk carries both sides and the data, and a documentary carries the voices with on-screen attribution.

04

Homework Assignment

~30 min

D4.3.9-12 Homework: Presenting the Packers' Argument to Three Audiences

Directions: Use Source 2 (Armour) and Sources 4-5 (the government histories), printed in the Direct Instruction section, and any other source on the page for a second perspective. You will adapt Armour's argument and the government explanation for three audiences and venues outside the classroom. Products stay as drafts. Write in your own voice; do not write as Armour or any other historical person.

Part 1: Three Products (Problems 1-3)

  1. Print, for a public library display: write a panel of 60-80 words that presents Armour's argument (Source 2, paragraphs 3-8) with one evocative quotation, his position, and one sentence from another perspective.
  2. Oral, for a 45-second stop on a museum audio guide: adapt the same argument for listeners who cannot see any text. Say who Armour was in plain words, use one image from his own writing, and end with a question that sends listeners to another perspective.
  3. Digital, for a page on a school history website: plan three screens with a caption of one or two sentences each, alt text for one image, and links. One screen must explain how the 1906 law worked, using Source 5, paragraph 2.

Part 2: Judging Your Choices (Problems 4-6)

  1. Armour invites readers to "see for yourself" at a branch house (Source 2, paragraph 2). Explain why this invitation is evocative, and what it does and does not prove about his claims.
  2. Which of your three products is most likely to be misread by its audience, and why? Revise one line of it to prevent the misreading.
  3. In five to seven sentences, compare your three products: what you changed for each audience, what you kept the same, and how you kept Armour's perspective fair while including another one.

Rubric

CriterionFull Credit (2 pts)Partial Credit (1 pt)No Credit (0 pts)
Range of audiencesThree products clearly differ in length, vocabulary and form to fit their audiences and venuesProducts differ in only one wayProducts are the same
Evocative ideasUses images or quotations from the sources that would move the audienceEvocative language present but invented or weakFlat, or no evocative choice
Perspectives and attributionArmour's argument presented fairly with his position named, plus another perspectiveOne perspective, or attribution partly missingMisattributed or one-sided
AccuracyEvery quotation exact and every fact supported by a cited sourceOne small errorSeveral errors or invented facts

05

Quiz: 20 Questions

Interactive, with answers

Instructions

Questions 1-11, 19 and 20 use Sources 1-5 (in the Direct Instruction section). Questions 12-18 use Source 6, four invented student drafts (in the Closure section). For each multiple-choice question, choose the best answer. For short-answer questions, write four to seven sentences or the product the question asks for.

Multiple choice: pick an option to check it. Short answer: write your answer, then reveal the model answer.

0 of 20 answered · 0 correct

  1. Question 1 of 20 · Multiple Choice

    In Source 3, paragraph 3, about 200 men waited at the gate and twenty-three were taken. About what share got work that morning?

  2. Question 2 of 20 · Multiple Choice

    In Source 3, paragraph 5, the worker earned $5 a week for six weeks and paid $15 for six weeks' board and lodging. How much was his board and lodging per week?

  3. Question 3 of 20 · Multiple Choice

    Source 4 says the Pure Food and Drugs Act passed the House 240 to 17. About what percent of the members voting were in favor?

  4. Question 4 of 20 · Multiple Choice

    Source 5 says that "since 1879, nearly 100 bills had been introduced in Congress" before the 1906 law. Over about how many years were those bills introduced?

  5. Question 5 of 20 · Multiple Choice

    A student's digital documentary introduces Source 1 with the narration "Here is a 1906 report from inside a Chicago packinghouse." What should the student change?

  6. Question 6 of 20 · Multiple Choice

    Armour calls government inspection "the wall that stands between the meat-eating public and the sale of diseased meat" (Source 2, paragraph 3). In his argument, what does this image do?

  7. Question 7 of 20 · Multiple Choice

    According to Source 3, paragraph 2, why did the narrator not use his real name?

  8. Question 8 of 20 · Multiple Choice

    Source 4 says Representative James Mann "captivated the chamber" with a speech about fruit colored with poisonous red dye and liquor distilled with chemical fillers. A student wants to use the same move to open a podcast about the 1906 law for high school listeners. Which opening uses it best?

  9. Question 9 of 20 · Multiple Choice

    Source 4 says the bill "sat unconsidered for three months, causing some to wonder if Speaker Joe Cannon of Illinois was delaying it." Which timeline caption keeps the source's meaning?

  10. Question 10 of 20 · Multiple Choice

    A museum's visitors spend about two minutes at each display. Which plan best fits this audience and venue?

  11. Question 11 of 20 · Multiple Choice

    Compared with a printed exhibit panel, what can a digital documentary add, and what must it still do?

  12. Question 12 of 20 · Multiple Choice

    Read Draft A in Source 6, paragraph 2. What is its main problem?

  13. Question 13 of 20 · Multiple Choice

    Read Draft B in Source 6, paragraph 3. Judged against the indicator, what is its main weakness?

  14. Question 14 of 20 · Multiple Choice

    Read Draft C in Source 6, paragraph 4. What is wrong with its quotation?

  15. Question 15 of 20 · Multiple Choice

    Read Draft D in Source 6, paragraph 5. What is its main problem?

  16. Question 16 of 20 · Short Answer

    Rewrite Draft A (Source 6, paragraph 2) as a fair museum wall panel of no more than 60 words. Keep one evocative idea and include at least two perspectives.

  17. Question 17 of 20 · Short Answer

    Rewrite Draft C (Source 6, paragraph 4) so that it presents Armour's argument accurately and still feels strong for documentary viewers.

  18. Question 18 of 20 · Short Answer

    Fix Draft D (Source 6, paragraph 5) for the historical society. Use the worker's real numbers, keep one evocative line, and tell the audience how his words reached print.

  19. Question 19 of 20 · Short Answer

    A two-minute digital documentary will present both Source 1 and Source 2. Describe two choices you would make so that both perspectives are fair and evocative.

  20. Question 20 of 20 · Short Answer

    Explain how you would adapt the House historian's explanation (Source 4) for two different audiences: eighth graders visiting a museum and members of a local historical society. Name one evocative idea you would use for each and why.

0 of 20 answered · 0 correct

06

Frequently Asked Questions

10 Questions

What does D4.3.9-12 mean?

D4.3.9-12 asks high school students to present adaptations of arguments and explanations that feature evocative ideas and perspectives on issues and topics, reaching a range of audiences and venues outside the classroom through print, oral and digital technologies.

How is D4.3.9-12 different from D4.3.6-8?

The high school indicator adds two demands: the adaptations must feature evocative ideas and perspectives, and they must reach a range of audiences, not just one. Students learn to move an audience with real voices and images while keeping each one fair and attributed.

What counts as an evocative idea?

A detail, image, story or quotation that makes an audience feel why an issue mattered, such as a worker's description of a crowd at a factory gate. An evocative idea is strongest when it comes from a source and is labeled with who said it and what kind of text it is.

How can an adaptation be evocative and still fair?

By drawing its power from the sources instead of invented drama, by giving more than one perspective room to speak in its own words, and by keeping quotations and numbers exactly as the sources give them. A label that names the speaker and the kind of text lets the audience judge.

Why does this lesson use the 1906 meatpacking debate?

It is a vehicle for the skill. The sources include a novel, a company leader's defense, a worker's own account and two government histories, so students must handle very different kinds of evocative material and present each perspective fairly.

Is it all right to quote The Jungle as evidence?

Yes, if the adaptation says it is a novel. The Jungle is fiction drawn from Chicago's packinghouses, and the government histories on this page say it helped move Congress in 1906, so it is evidence of what readers saw and felt, not a news report.

Do students have to post on social media or contact organizations?

No. The indicator lists social media as one example of digital technology. In this lesson, products stay in channels the teacher approves, such as a school history night, a library display or the school website, and students do not post on personal accounts.

How is D4.3.9-12 assessed?

With products and short answers scored on the range of audiences, the use of evocative ideas, fair and attributed perspectives, and accuracy. Recall of facts about 1906 is not scored.

Which literacy standards go with D4.3.9-12?

WHST.11-12.6 asks students to use technology to produce, publish and update writing, and SL.11-12.5 asks for strategic use of digital media in presentations. Both describe the print, oral and digital work on this page.

What comes after D4.3.9-12?

D4.4.9-12 and D4.5.9-12 ask students to critique the claims, evidence, reasoning and supporting details in arguments and explanations, including their own adaptations.