Reading Comprehension Assessment Series
GRADE 5
VOCABULARY IN CONTEXT
The Harlem Renaissance: Blossoming,
Crucible & Reverberation
GRADE 8 Reading Test VOCABULARY IN CONTEXT with A...
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Webb's
Depth of Knowledge · Hess's Cognitive Rigor Matrix
Context
Clues ·
Figurative Language · Multiple Meanings · Tier
2 & Tier 3 Vocabulary
Frustration-Level
Text ·
Full-Stack Assessment
Student
Name: _________________________________
Date: ____________
Teacher:
_________________________________
Period / Class: ____________
SKILL REFERENCE: VOCABULARY IN CONTEXT
QUESTION CATEGORIES
Seven question types assess your full
vocabulary-in-context skill set. Study the table, then read the passage and
annotate as you go.
|
Question Category |
Skill Tested |
DOK / CRM Range |
Points |
|
Context Clues — Direct
Definition |
Locate embedded definition;
infer from appositive or restatement |
DOK 1–2 / A-1–B-2 |
2 pts each |
|
Context Clues — Inference |
Use surrounding sentences to
infer meaning without an explicit definition |
DOK 2–3 / B-2–C-3 |
2 pts each |
|
Figurative Language —
Metaphor |
Interpret a non-literal
comparison embedded in the text |
DOK 2–3 / B-2–C-3 |
2 pts each |
|
Figurative Language — Idiom
/ Simile / Personification |
Identify figurative meaning;
explain rhetorical effect |
DOK 2–3 / B-2–C-3 |
2 pts each |
|
Multiple Meanings |
Choose the meaning of a
polysemous word that fits the specific context |
DOK 2–3 / B-2–C-3 |
2 pts each |
|
Connotation / Tone |
Distinguish between
denotative meaning and connotative weight; identify author's tone |
DOK 3 / C-3 |
2 pts each |
|
Short Answer — Vocabulary |
Construct definitions;
explain figurative meaning; analyze word choice effect |
DOK 3–4 / C-3–D-4 |
10 pts each |
|
Extended Response |
Analyze how vocabulary and
figurative language work together to develop meaning and tone |
DOK 4 / D-4 |
20 pts |
DIRECTIONS
Read and annotate carefully—underline
unfamiliar words, circle context clues, and note figurative language. The
category label in brackets on each question identifies the specific vocabulary
skill being tested. Written responses require formal academic register,
complete sentences, and direct textual citation.
PASSAGE: THE HARLEM RENAISSANCE —
EFFLORESCENCE, REBUTTAL & ENDURING RESONANCE
Between approximately 1920 and 1940, a
remarkable cultural efflorescence—a sudden, vibrant blossoming of artistic,
intellectual, and social activity—transformed the Harlem neighborhood of New
York City into the epicenter of African American creative life. Dubbed the
Harlem Renaissance by historians and participants alike, this period saw an
extraordinary outpouring of literature, music, visual art, and political
thought that permanently altered America's cultural landscape and challenged,
with elegant and uncompromising force, the racial assumptions that had governed
American society since Reconstruction.
The Harlem Renaissance was fueled, in part,
by the Great Migration—the mass movement of millions of African Americans from
the rural South to the urban North between 1910 and 1970. Escaping the brutal
regime of Jim Crow laws—segregation statutes that enforced racial hierarchy
through legal and extralegal violence—Black Americans arrived in Harlem and
other Northern cities seeking freedom, economic opportunity, and the space to
build communities and institutions on their own terms. Harlem became, in the words
of writer and philosopher Alain Locke, the "race capital of
America"—not merely a neighborhood but a symbolic capital of Black
aspiration and possibility.
The literary voice of the Renaissance was
multitudinous, or many-voiced, but several figures defined its contours.
Langston Hughes, whose poetry married the rhythms of jazz and blues to the
cadences of formal verse, created a vernacular literature—a literature rooted
in everyday speech and popular culture—that gave lyric expression to the
textures of Black urban life. Zora Neale Hurston, an anthropologist and
novelist whose work was grounded in the folk traditions of the Black South,
argued that African American culture possessed its own beauty, complexity, and
validity that required no apology or justification to a white audience.
The visual arts of the Renaissance were
equally transformative. Aaron Douglas, often called the father of African
American art, developed a distinctive visual language that fused African
artistic traditions with the geometric abstraction of European modernism—creating
images of Black life and history that were simultaneously rooted and
cosmopolitan. His murals and illustrations for magazines such as The Crisis and
Opportunity brought Black visual art into homes and communities across the
country.
The Renaissance also served as a crucible for
political debate. W.E.B. Du Bois, editor of The Crisis and co-founder of the
NAACP, argued that art and literature could serve as instruments of political
liberation—that beautiful and accomplished Black art was, in itself, a rebuttal
to the dehumanizing logic of white supremacy. His vision of the "Talented
Tenth"—an educated African American elite whose cultural achievements
would uplift the entire race—stood in productive tension with the more populist
philosophy of Marcus Garvey, who argued that Black liberation required not
cultural elevation but economic self-sufficiency and political sovereignty.
The Harlem Renaissance did not end racism in
America. Its promise was real but its reach was limited; many of its greatest
figures died in poverty or obscurity, and the Great Depression eventually
drained the economic patronage that had sustained it. Yet its
reverberations—the vocabulary it created, the images it circulated, the
arguments it initiated—continued to shape Black artistic and political life
throughout the twentieth century and into the present.
SECTION A — CONTEXT CLUES (2 pts each)
Questions 1–6: Use context clues to determine
word and phrase meanings.
1. [Context Clues — Direct Definition] In paragraph one, the word
"efflorescence" is immediately followed by the phrase "a sudden,
vibrant blossoming of artistic, intellectual, and social activity." What
type of context clue is this, and what does it reveal about the Harlem
Renaissance?
DOK 1 · CRM
A-1
▸ Tests
recognition of appositive definition.
A) An antonym clue showing what the
Renaissance was not
B) A direct restatement/appositive
clue; it reveals the Renaissance was a sudden and vibrant explosion of creative
energy across multiple artistic and intellectual fields
C) An example clue listing specific
artistic works that illustrate the term
D) An inference clue requiring the
reader to synthesize information from multiple paragraphs
2. [Context Clues — Direct Definition] Paragraph two identifies Jim Crow
laws as "segregation statutes that enforced racial hierarchy through legal
and extralegal violence." Using this definition, which statement
accurately describes Jim Crow laws?
DOK 1 · CRM
A-1
▸ Tests
transfer of embedded definition.
A) Jim Crow laws were informal
community customs with no legal standing in state or federal courts
B) Jim Crow laws were formally
enacted legal statutes that enforced racial separation and hierarchy, and were
backed both by official law enforcement and by extralegal violence that
operated outside and beneath the law
C) Jim Crow laws were exclusively
economic regulations that restricted African Americans' access to employment
and property ownership
D) Jim Crow laws applied only in the
North because Southern states had abolished legal segregation after
Reconstruction
3. [Context Clues — Inference]
Paragraph three describes Langston Hughes as creating
"vernacular literature—a literature rooted in everyday speech and popular
culture." Based on this definition, which of the following would be an
example of vernacular literature?
DOK 2 · CRM
B-2
▸ Tests
inference from embedded synonym pair.
A) A formal academic treatise on the
history of jazz written for a university audience in technical musicological
language
B) A poem written in the rhythm and
speech patterns of jazz music, using the words and images of everyday Black
urban life in 1920s Harlem
C) A Latin translation of classical
Greek poetry adapted for use in university literature courses
D) A formal novel written in the
style of nineteenth-century European realism without reference to African
American speech or culture
4. [Context Clues — Inference]
In paragraph four, Aaron Douglas's work is described as
"simultaneously rooted and cosmopolitan." Using context clues in the
same sentence—which describes his work as "fusing African artistic
traditions with the geometric abstraction of European modernism"—what does
"cosmopolitan" most likely mean?
DOK 2 · CRM
B-2
▸ Tests
inference from context without explicit definition.
A) Expensive and prestigious,
appealing only to wealthy art collectors in major urban centers
B) Belonging to or drawing from
multiple world cultures and traditions, not limited to a single national or
ethnic artistic heritage
C) Politically progressive and
committed to international causes of racial and economic justice
D) Produced in a large city, as
opposed to the rural folk traditions that characterized earlier African
American art
5. [Context Clues — Inference]
In paragraph five, Du Bois argues that accomplished Black art
was "a rebuttal to the dehumanizing logic of white supremacy." Using
this context, what does "rebuttal" mean?
DOK 2 · CRM
B-2
▸ Tests
inference from logical relationship.
A) A formal legal argument presented
in court against a specific criminal accusation
B) A counter-argument or evidence
that directly contradicts and challenges an opposing claim—in this case, Black
artistic achievement refuting the claim that Black people were intellectually
or culturally inferior
C) A public apology offered by one
group to another in acknowledgment of historical wrongdoing
D) A violent protest action taken in
response to unjust laws or social conditions
6. [Context Clues — Inference]
The final paragraph states the Renaissance's "promise
was real but its reach was limited." What does the contrast between
"promise" and "reach" communicate about the Renaissance's
impact, and how does the specific word "reach" add to the meaning of
"impact" or "effect"?
DOK 3 · CRM
C-3
▸ Tests
inference of evaluative phrase from contrast context.
A) "Reach" and
"effect" are synonymous; the sentence simply means the Renaissance
had some positive and some negative consequences
B) The contrast between
"promise" (what it could have achieved) and "reach" (how
far its actual effects extended) distinguishes aspiration from realization;
"reach" adds the specific idea of geographic and social extension—the
Renaissance's ideas and art could not penetrate all the communities or
institutions it aspired to transform
C) "Reach" implies that the
Renaissance's physical artwork did not travel beyond New York City
D) The contrast suggests the
Renaissance was a complete failure because its promise was never realized in
any meaningful way
SECTION B — FIGURATIVE LANGUAGE (2 pts each)
Questions 7–12: Identify and interpret
metaphors, similes, irony, personification, and allusion.
7. [Figurative Language — Metaphor]
Alain Locke called Harlem the "race capital of
America." What does the metaphor of Harlem as a "capital"
communicate that simply calling it an important neighborhood would not?
DOK 2 · CRM
B-2
▸ Tests
interpretation of geographic metaphor.
A) It implies Harlem was officially
recognized by the federal government as the political headquarters of African
American civic organizations
B) It suggests Harlem was the
symbolic and administrative center of Black American life—the place where
cultural, political, and intellectual authority resided, and from which ideas
and movements radiated outward across the country, just as a national capital
is the seat from which national life is organized and represented
C) It implies Harlem had the largest
population of any African American community in the United States
D) It means Locke believed Harlem
would eventually become an independent political entity with its own government
8. [Figurative Language — Metaphor]
The passage uses the word "efflorescence"
(blossoming) and later describes the Renaissance as generating
"reverberations." What do these two metaphors—one from botany, one
from acoustics—together suggest about the nature of the Renaissance's impact?
DOK 2 · CRM
B-2
▸ Tests
figurative reading of biological metaphor.
A) Together they suggest the
Renaissance was both a natural and an engineered phenomenon
B) The botanical metaphor
(blossoming) suggests the Renaissance was a sudden, organic, and beautiful
eruption of life; the acoustic metaphor (reverberations) suggests its effects
did not stop at its moment of greatest intensity but continued to echo, resonate,
and shape subsequent history long after the original sound had faded—together
characterizing the Renaissance as both a vivid event and an enduring force
C) Both metaphors suggest the
Renaissance was temporary and quickly forgotten after the Great Depression
ended its cultural patronage
D) The botanical metaphor implies
fragility; the acoustic metaphor implies power; together they suggest the
Renaissance was contradictory in its nature
9. [Figurative Language — Personification/Metaphor] Du Bois argued that art and
literature could serve as "instruments of political liberation."
Analyze this metaphor. What does the word "instruments" suggest about
Du Bois's view of art's relationship to politics?
DOK 3 · CRM
C-3
▸ Tests
analysis of a contested figurative phrase.
A) "Instruments" suggests
art was merely decorative and served only an aesthetic function in the
political struggle
B) "Instruments" (tools or
implements designed to accomplish a specific purpose) frames art not as an end
in itself but as a purposeful means toward a political goal—liberation. This is
a significant ideological claim: it argues that beauty and political efficacy
are not separate but that artistic excellence can itself be a political act,
doing work that speeches or legislation cannot
C) "Instruments" suggests
Du Bois believed art should be subordinated to politics and judged solely on
its political usefulness rather than its aesthetic quality
D) "Instruments" refers
literally to musical instruments, reflecting the centrality of jazz and blues
to Du Bois's vision of Black cultural liberation
10. [Figurative Language — Metaphor]
The passage describes the Renaissance as a "crucible for
political debate" (paragraph 5). Previously in this series, the Silk Road
was also called a "crucible." Evaluate: does the crucible metaphor
work as well for political debate as it does for cultural exchange? What
specific quality of a crucible—intense heat, transformation, containment—is
most relevant to political debate?
DOK 3 · CRM
C-3
▸ Tests
evaluation of metaphorical precision.
A) The crucible metaphor is less
effective for political debate because political ideas cannot literally be
melted or transformed
B) The metaphor works effectively for
political debate primarily through the quality of intense heat—political debate
in the Renaissance was conducted under conditions of extreme pressure (racial
oppression, economic precarity, existential stakes) that forced competing ideas
into direct confrontation with each other, generating the friction necessary
for transformation; the Du Bois/Garvey tension is precisely the kind of
high-stakes intellectual collision a crucible implies
C) The crucible metaphor is more
effective for the Silk Road because the Silk Road actually mixed physical goods
together, while political debate only mixes ideas
D) The crucible metaphor does not
work for political debate because a crucible produces a unified substance,
whereas political debate in the Renaissance remained unresolved between Du Bois
and Garvey
11. [Figurative Language — Metaphor/Paradox] The passage describes Du Bois's
"Talented Tenth" and Garvey's philosophy as standing "in
productive tension" with each other. The phrase "productive
tension" is paradoxical because tension usually implies conflict and
discomfort, not productivity. What does the phrase "productive
tension" imply about the relationship between competing ideas?
DOK 3 · CRM
C-3
▸ Tests
analysis of paradoxical phrase.
A) It implies that Du Bois and Garvey
eventually resolved their differences and worked together on a unified
political program
B) It implies that the conflict
between their ideas, though real and unresolved, was generative—that the
friction between competing visions of liberation produced a richer and more
complex political conversation than either vision alone could have generated,
making the disagreement itself valuable rather than merely destructive
C) It implies that their tension was
only apparent and that their philosophies were more similar than different
beneath the surface
D) It suggests the author is
uncertain which philosophy was more productive and uses "tension" to
avoid taking a position
12. [Figurative Language — Extended Metaphor] The passage opens with the
metaphor of "efflorescence" (blossoming) but closes by noting that
many Renaissance figures "died in poverty or obscurity." How does
this closing detail function in relation to the opening botanical metaphor?
DOK 3 · CRM
C-3
▸ Tests
identification of metaphor that contradicts or qualifies another.
A) It contradicts the botanical
metaphor entirely, proving that the "blossoming" description was
inaccurate and overly optimistic
B) It extends and darkens the
botanical metaphor: flowers bloom brilliantly but also wither; the closing
detail adds the dimension of natural decline to the earlier image of natural
flourishing, suggesting that the Renaissance was as subject to cycles of growth
and decay as any living thing—beautiful, genuine, and ultimately mortal
C) It suggests the author regrets
using the efflorescence metaphor and is attempting to correct it in the final
paragraph
D) It is unrelated to the botanical
metaphor and serves only as a historical corrective to hagiographic accounts of
Renaissance figures
SECTION C — MULTIPLE MEANINGS (2 pts each)
Questions 13–16: Select the contextually
correct meaning of polysemous words.
13. [Multiple Meanings] In
paragraph three, "several figures defined its contours." The word
"contours" can mean (1) the outline or shape of a physical object,
(2) the distinctive features or character of something complex, or (3) a line
on a map representing elevation. Which meaning fits this context?
DOK 2 · CRM
B-2
▸ Tests
disambiguation of "contours."
A) The physical outline meaning,
because the Renaissance was confined to a specific geographic area of Harlem
B) The distinctive features/character
meaning—the figures "defined the contours" means they shaped and
characterized what the Renaissance looked, sounded, and stood for, giving form
and definition to its identity
C) The cartographic meaning, because
the Renaissance is being mapped geographically across New York
D) All three meanings apply equally,
and the sentence is intentionally ambiguous
14. [Multiple Meanings] The
final paragraph references "economic patronage" that sustained the
Renaissance. In different contexts, "patronage" can mean (1)
financial support given to artists or institutions, (2) the customers of a
business, or (3) political appointments given as favors. Which meaning is most
active here?
DOK 2 · CRM
B-2
▸ Tests
disambiguation of "patronage."
A) Political appointment—the
Renaissance was sustained by government jobs given to Black artists
B) Financial support given to artists
and cultural institutions—publishers, magazines, foundations, and wealthy
individuals funded the writers, musicians, and visual artists of the
Renaissance
C) Customers of a business—Black
consumers supported the Renaissance by purchasing its products
D) All three meanings are equally
relevant because the passage discusses politics, economics, and art
simultaneously
15. [Multiple Meanings] Zora
Neale Hurston argued that African American culture "possessed its own
beauty, complexity, and validity." In different contexts,
"validity" can mean (1) logical soundness of an argument, (2) legal
legitimacy, or (3) the quality of being justified, meaningful, and worthy of
recognition. Which meaning is most active here, and why does Hurston's claim
require this specific meaning?
DOK 3 · CRM
C-3
▸ Tests
polysemy of "validity."
A) Logical soundness, because Hurston
was making a philosophical argument about the internal logic of African
American folk traditions
B) Justified worthiness—Hurston was
asserting that African American culture had inherent value and deserved
recognition on its own terms, without needing to meet external standards set by
white audiences; this meaning is most active because it addresses a claim about
cultural worth and dignity, not about formal logic or legal status
C) Legal legitimacy, because Hurston
was challenging laws that denied African Americans their cultural property
rights
D) All three meanings are
simultaneously active because Hurston's argument operates on philosophical,
legal, and cultural levels simultaneously
16. [Multiple Meanings] Du
Bois's "Talented Tenth" was conceived as an elite whose achievements
would "uplift the entire race." The word "uplift" can mean
(1) to raise physically, (2) to improve the social or economic condition of a
group, or (3) to inspire or elevate emotionally or spiritually. Which
combination of meanings is most operative in Du Bois's use of the term, and
what does the layered meaning reveal about his theory?
DOK 3 · CRM
C-3
▸ Tests
polysemy of "uplift."
A) Only the social/economic meaning
applies; Du Bois was exclusively concerned with improving material conditions
through access to professional employment and higher education
B) The social/economic and
spiritual/emotional meanings work together: Du Bois believed that Black
cultural achievement would simultaneously improve the material conditions of
African Americans (by demonstrating their capacity for equal participation in
civic life) and elevate their spiritual and psychological dignity (by refuting
dehumanizing narratives); the physical "lift" meaning provides the
underlying metaphor that gives the term its force
C) Only the spiritual/inspirational
meaning applies; Du Bois was primarily a philosopher of culture with no
interest in economic or political transformation
D) The term "uplift" is
purely ironic—Du Bois uses it to critique the elitist assumption that some
Black people must be raised above others
SECTION D — CONNOTATION & TONE (2 pts each)
Questions 17–20: Analyze how specific word
choices shape the passage's tone and meaning.
17. [Connotation & Tone] The
passage describes the Renaissance as challenging racial assumptions "with
elegant and uncompromising force." What does the combination of
"elegant" and "uncompromising" communicate that either word
alone would not?
DOK 3 · CRM
C-3
▸ Tests
connotation of "uncompromising."
A) "Elegant" and
"uncompromising" are near-synonyms that together simply mean the
challenge was effective
B) Together they create a paradoxical
portrait of the Renaissance's power: "elegant" suggests beauty,
refinement, and artistry; "uncompromising" suggests absolute refusal
to make concessions or soften the challenge; the combination implies the
Renaissance was powerful not despite its beauty but through it—its elegance was
itself a form of uncompromising assertion
C) "Elegant" softens
"uncompromising," suggesting the Renaissance challenged racism
politely and without causing offense to white audiences
D) "Uncompromising"
contradicts "elegant," creating a logical tension the author never
resolves
18. [Connotation & Tone] The
passage states the Harlem Renaissance "permanently altered America's
cultural landscape." What does the word "permanently" add to the
claim that the author could not achieve by writing "significantly
changed"?
DOK 3 · CRM
C-3
▸ Tests tone
of "permanently altered."
A) "Permanently" is an
overstatement that weakens the claim by making it impossible to verify
B) "Permanently" forecloses
the possibility of reversal or return to a prior condition—it claims not that
the Renaissance made an important change but that it made an irreversible one,
establishing a one-way threshold in American cultural history;
"significantly changed" leaves open the possibility that the change
could be undone
C) "Permanently" and
"significantly changed" are synonymous in historical writing and
carry the same evidential weight
D) "Permanently"
strengthens the claim by quantifying exactly how long the change has lasted
19. [Connotation & Tone] The
author describes the Renaissance's literary voice as "multitudinous, or
many-voiced." Why might the author prefer "multitudinous" to the
simpler word "diverse"?
DOK 3 · CRM
C-3
▸ Tests
connotation of "multitudinous."
A) "Multitudinous" is a
more precise scientific term than "diverse" and therefore more
appropriate for a passage about cultural history
B) "Multitudinous" carries
connotations of overwhelming abundance and number—a vast, surging
multiplicity—that "diverse" does not; "diverse" implies
variety without implying quantity or intensity, while "multitudinous"
suggests a voice that is not merely varied but proliferating, pouring forth
from countless sources simultaneously
C) "Multitudinous" and
"diverse" are synonymous; the choice is purely aesthetic
D) "Multitudinous" is more
politically appropriate because "diverse" has become an overused term
in contemporary discourse
20. [Connotation & Tone] The
final paragraph states the Renaissance's "reverberations . . . continued
to shape Black artistic and political life throughout the twentieth century and
into the present." What does the word "reverberations" imply
about the Renaissance's relationship to the present moment that a word like
"effects" or "influence" would not?
DOK 3 · CRM
C-3
▸ Tests tone
of closing paragraph.
A) "Reverberations,"
"effects," and "influence" are synonymous in this context;
the distinction is purely stylistic
B) "Reverberations" (the
continued echoing of a sound after its source has ceased) implies that the
Renaissance is not merely historically influential but still actively
resonating—that its sounds have not faded but continue to be heard in the present,
suggesting an intimacy with the contemporary moment that "effects"
(past causation) and "influence" (one thing shaping another) do not
capture
C) "Reverberations" implies
the Renaissance's impact was primarily auditory, reflecting the centrality of
music in the movement
D) "Reverberations" weakens
the claim by implying the Renaissance's impact is merely an echo—diminished and
distorted—rather than direct and powerful
SECTION E — SHORT ANSWER (10 pts each)
DOK 3–4
| CRM C-3 / D-4 |
Complete sentences and specific textual evidence required.
21. [Figurative Language — Analysis]
The passage uses two contrasting spatial metaphors: Harlem as
a "capital" and the Renaissance's artistic output as
"reverberations." One metaphor emphasizes centrality and authority;
the other emphasizes sound and persistence. Analyze what each metaphor reveals
about a different dimension of the Renaissance's significance. Then evaluate:
which metaphor do you find more illuminating about what made the Harlem
Renaissance historically important? (DOK 3 | CRM C-3)
DOK 3 · CRM
C-3
22. [Connotation / Word Choice — Evaluation] Du Bois describes accomplished
Black art as "a rebuttal to the dehumanizing logic of white
supremacy." The word "dehumanizing" is doing significant work in
this sentence. Define "dehumanizing" using context clues. Then analyze:
why is it important that Du Bois calls white supremacy's logic
"dehumanizing" rather than simply "wrong" or
"unjust"? What does this specific word choice reveal about Du Bois's
understanding of what racism actually does to its targets? (DOK 4 | CRM D-4)
DOK 4 · CRM
D-4
SECTION F — EXTENDED RESPONSE (20 pts)
DOK Level 4
| CRM D-4 |
Minimum 10–14 sentences. Formal academic register.
23. [Vocabulary & Figurative Language — Synthesis] The passage uses figurative
language rooted in three different domains: botany (efflorescence, blossoming),
acoustics (reverberations), and architecture/geography (capital, crucible,
landscape). In a well-organized extended response: (1) explain what each domain
of figurative language contributes to the passage's meaning that the other
domains do not; (2) analyze how the author's decision to borrow language from
nature, sound, and built space creates a richer portrait of the Renaissance
than any single domain could achieve; (3) evaluate which figurative domain is
most effective for characterizing a cultural movement and defend your position;
and (4) identify one aspect of the Harlem Renaissance that no existing metaphor
in the passage captures, and propose your own figurative language to describe
it.
DOK 4 · CRM
D-4
SECTION G — VOCABULARY JOURNAL (4 pts each × 5 words)
Select FIVE challenging words or phrases from
the passage. For each: write the passage sentence, explain the meaning from
context, and write your own original sentence using the word correctly.
Word 1:
Word / Phrase:
_____________________________________________
Sentence from
passage:
Meaning from
context:
My original sentence:
Word 2:
Word / Phrase:
_____________________________________________
Sentence from
passage:
Meaning from
context:
My original sentence:
Word 3:
Word / Phrase:
_____________________________________________
Sentence from
passage:
Meaning from
context:
My original sentence:
Word 4:
Word / Phrase:
_____________________________________________
Sentence from
passage:
Meaning from
context:
My original sentence:
Word 5:
Word / Phrase:
_____________________________________________
Sentence from
passage:
Meaning from
context:
My original sentence:
ASSESSMENT SCORING GUIDE
|
Section |
Points Possible |
Points Earned |
DOK Level |
CRM Cell |
|
Sec A: Context Clues MC (×6) |
12 |
___ |
1–3 |
A-1 / B-2 / C-3 |
|
Sec B: Figurative Language
MC (×6) |
12 |
___ |
2–3 |
B-2 / C-3 |
|
Sec C: Multiple Meanings MC
(×4) |
8 |
___ |
2–3 |
B-2 / C-3 |
|
Sec D: Connotation &
Tone MC (×4) |
8 |
___ |
3 |
C-3 |
|
Sec E: Short Answer (×2) |
20 |
___ |
3–4 |
C-3 / D-4 |
|
Sec F: Extended Response |
20 |
___ |
4 |
D-4 |
|
Sec G: Vocabulary Journal |
20 |
___ |
2 |
B-2 |
|
TOTAL |
100 |
___ |
— |
— |
Grade 3
— The Underground Railroad
Section A — Key Details MC
(Questions 1–5):
Q1: B
Q2: C
Q3: B
Q4: C
Q5: B
Section B — Main Idea /
Theme MC (Questions 6–10):
Q6: A
Q7: C
Q8: B
Q9: B
Q10: B
Section F — Vocabulary
(Questions 14–15):
Q14: B
Q15: C
Open-Response
Scoring: Apply DOK/CRM Rubric below.
Grade 4
— The Dust Bowl
Section A — Key Details MC
(Questions 1–5):
Q1: B
Q2: A
Q3: B
Q4: C
Q5: B
Section B — Main Idea /
Theme MC (Questions 6–10):
Q6: B
Q7: C
Q8: B
Q9: B
Q10: B
Section F — Vocabulary
(Questions 14–15):
Q14: B
Q15: B
Open-Response
Scoring: Apply DOK/CRM Rubric below.
Grade 5
— Gutenberg's Printing Press
Section A — Key Details MC
(Questions 1–5):
Q1: B
Q2: C
Q3: B
Q4: B
Q5: B
Section B — Main Idea /
Theme MC (Questions 6–10):
Q6: B
Q7: B
Q8: B
Q9: B
Q10: B
Section F — Vocabulary
(Questions 14–15):
Q14: C
Q15: B
Open-Response
Scoring: Apply DOK/CRM Rubric below.
Grade 6
— The Columbian Exchange
Section A — Key Details MC
(Questions 1–5):
Q1: B
Q2: C
Q3: B
Q4: B
Q5: B
Section B — Main Idea /
Theme MC (Questions 6–10):
Q6: B
Q7: A
Q8: B
Q9: B
Q10: B
Section F — Vocabulary
(Questions 14–15):
Q14: B
Q15: B
Open-Response
Scoring: Apply DOK/CRM Rubric below.
Grade 7
— Women's Suffrage
Section A — Key Details MC
(Questions 1–5):
Q1: B
Q2: B
Q3: B
Q4: B
Q5: B
Section B — Main Idea /
Theme MC (Questions 6–10):
Q6: B
Q7: B
Q8: B
Q9: B
Q10: B
Section F — Vocabulary
(Questions 14–15):
Q14: B
Q15: C
Open-Response
Scoring: Apply DOK/CRM Rubric below.
Grade 8
— The Space Race
Section A — Key Details MC
(Questions 1–5):
Q1: B
Q2: B
Q3: B
Q4: B
Q5: B
Section B — Main Idea /
Theme MC (Questions 6–10):
Q6: B
Q7: B
Q8: B
Q9: B
Q10: B
Section F — Vocabulary
(Questions 14–15):
Q14: C
Q15: B
Open-Response
Scoring: Apply DOK/CRM Rubric below.
DOK
/ CRM Open-Response Rubric
|
Score |
DOK |
Summary / Key Detail Accuracy |
Main Idea / Theme Analysis |
Register & Citation |
|
18–20 |
4 — Extended |
Complete, precise,
text-specific; no omissions |
Evaluates; synthesizes
across multiple paragraphs |
Tier 3 vocabulary; formal
register; cited accurately |
|
14–17 |
3 — Strategic |
Mostly accurate; minor
omissions |
Analytical; explains rather
than retells |
Tier 2; generally formal;
partial citations |
|
9–13 |
2 — Skills |
Partially accurate; some
paraphrase errors |
Some analysis; mixes summary
and interpretation |
Mixed register; general
references to text |
|
0–8 |
1 — Recall |
Inaccurate or absent |
Retelling only; no
analytical claim |
Informal; no textual
evidence |
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