The Secret Passageways of Writing - TOBELTA Reading & Writing ConferenceMalu Sciamarelli
There is no doubt that writing is one of the most difficult skills for L2 learners to master. The difficulty lies not only in generating and organizing ideas, but also in translating these ideas into an intelligible text. In this session I’m going to present an activity of reading/writing based on “The Shadow of the Wind”, and show that the teacher is responsible for translating all the writing principles into practice and should constantly record, ponder and analyze what they have done in the classroom, and use their reflective experience as a basis for improving their practices.
The Secret Passageways of Writing - TOBELTA Reading & Writing ConferenceMalu Sciamarelli
There is no doubt that writing is one of the most difficult skills for L2 learners to master. The difficulty lies not only in generating and organizing ideas, but also in translating these ideas into an intelligible text. In this session I’m going to present an activity of reading/writing based on “The Shadow of the Wind”, and show that the teacher is responsible for translating all the writing principles into practice and should constantly record, ponder and analyze what they have done in the classroom, and use their reflective experience as a basis for improving their practices.
Made as part of my MLIS degree. It is a quiz so in the original presentation it is not a straight thru presentation but a click your own adventure style :)
Made as part of my MLIS degree. It is a quiz so in the original presentation it is not a straight thru presentation but a click your own adventure style :)
This presentation is for middle, high, or upper elementary school students. It introduces (and reviews) poetic form and structure, rhythm, meter, word choice, and author's purpose (conveyed by mood and tone). This presentation focuses on sound devices and figurative language and their use and application in poetry. May be accompanied with guided note handout and activities found on www.literacystationinspiration.com.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
3. Harmonic Choral Speaking
A conductor is allowed.
Absolutely no body movement, gesture, mime
costume or props are allowed.
Suitable grouping patterns are allowed.
Emphasis is on clarity and harmony of speech.
4. Words spoken in unison
Lots of practice helps.
One student, in the centre, can count to three.
The counting has to be in English!
(Not yat, yih, saam.)
11. 1. What was the poet’s intention?
Silly? Serious?
12. 2. Are there any shifts in mood?
The word but generally signifies a
shift in mood.
13. 3. Do lines carry on in meaning?
Students
tend to
stop at the ends
of lines.
Students tend to drop their pitch and volume at
the ends of lines.
14. Enjambment
Be aware of the lines that carry on the
meaning in the poem.
Once Steeple Bumpstead
Had a steeple
Beloved by all
The village people.
15. 4. The beginning and the end are
important parts!
The beginning is generally a narrative voice.
It is neither fast nor slow, but moves along at
an average pace.
The ending generally slows right down to a
stop.
16. from The Steeple (Beginning)
Once Steeple Bumpstead
Had a steeple
Beloved by all
The village people.
It was so fine
And tall and stately,
No wonder they
Admired it greatly.
17. From The Steeple (Ending)
And all because
An angry wizard
Blew Steeple Bumpstead
Folk a blizzard.
18. VARIATION IS EVERYTHING
There are three elements that should be varied.
What do you think they are?
Pitch
Pace
Volume
19. Vary pitch.
Back rows - high pitch.
Front rows - low pitch.
It was so fine HIGH PITCH
And tall and stately,
LOW PITCH
No wonder they
Admired it greatly.
20. from The Three Little Pigs
“Little pig, little pig, let me come in!”
“Not by the hair of my chinny, chin chin!”
“Then I‟ll huff and I‟ll puff and I‟ll blow your
house down.”
And he huffed and he puffed and he blew the
house down.
21. from The Steeple
But long ago
An angry wizard
Blew Steeple Bumpstead Which words would
be spoken with
Folk a blizzard; a high pitch?
And suddenly the
Dust went dancing,
And hayracks in the fields
Went prancing.
22. From A Case of Murder
They should not have left him there alone,
Alone that is except for the cat.
He was only nine, not old enough And here?
To be be left alone in a basement flat,
Alone, that is, except for the cat
23. from A Case of Murder
And he took the stick and thrust it in,
Hard and quick in the furry dark,
The black fur squealed and he felt his skin
Prickle with sparks of dry delight.
Then the cat again came into sight,
Shot for the door that wasn‟t quite shut,
But the boy, quick too, slammed fast the door:
24. Vary pace.
There are three paces to follow.
What do you think they are?
Slow (caesural or suspensory pause)
Fast
Medium (narrative voice)
25. A caesural pause works!
A natural pause in the middle of a line
adds a bit more drama.
It was so fine Where could
the students pause?
And tall and stately,
No wonder they admired it greatly.
26. Make use of suspensory pauses
Carry enjambed lines forward by …
lengthening the last syllable
increasing inflection
not taking a breath!
27. Faai di la!
And suddenly the
Dust when dancing,
And hayracks in the fields
Went prancing.
The win set windmill
Sails a-whirling,
And pots and pans
And dishes twirling;
29. It blew the thrifty
Mean and lazy,
Till one and all Which words could
be spoken at a
Were nearly crazy, higher volume?
And one and all,
Both dull and clever,
Cried „Lawksamussy!
Well, I never!‟
30. SPECIAL EFFECTS
There are many, many, many things one can
do to bring the words alive.
“You pulled everything out of your sleeve.”
31. Cause a Wave.
Make a wave with the voices to show walking
from one place to another, or something
flying across the sky, or something falling.
32. from A Case of Murder
Then the cat again came into sight,
Shot for the door that wasn‟t quite shut,
33. from The Steeple
The steeple once
So tall and splendid,
A heap of rubbish
Had descended;
34. Drop and Raise the Shoulders
To show sadness, have all students drop their
shoulders.
35. from The Steeple
And poked their puzzled,
Anxious faces,
From queer and un-
Expected places. RAISE SHOULDERS
But all at once the storm departed DROP SHOULDERS
As quick or quicker
Than it started;
36. More and More Voices
What‟s the easiest way to create this effect?
37. GROUPING
TEACHER
front
1 2 3 4
back
RIGHT LEFT
38. Add more and more voices
Start with 2 or 3 students, and keep adding 10
more.
TEACHER
39. Add more and more voices
And dumped the load of heavy fur
In the spidery cupboard under the stair
Where it‟s been for years, and though it died
It‟s grown in that cupboard and its hot low purr
Grows slowly louder year by year;
40. These lines will get progressively
louder.
TEACHER
And though
it died
And its hot Grows slowly
year by year
low purr louder
It‟s grown
in that cupboard
41. Make other sounds besides words.
Add ….
a sigh
a meow
breathy sounds
42. From The Steeple
It caught the farmer‟s
Wife so busy, What sounds
could be added?
And round she went
Till she was dizzy.
43. Students can lean forward when they
speak.
The beginning of A Case of Murder
They should not have left him there alone,
Alone that is except for the cat.
He was only nine, not old enough
To be left alone in a basement flat,
Alone, that is, except for the cat MOVE FORWARD
44. At the end of A Case of Murder
When the cupboard swells and all sides split
And the huge black cat pads out of it.
45. from The Steeple
And poked their puzzled,
Where could students
Anxious faces, move forward?
From queer and un-
Expected places.
46. Faces should be seen at all times
Sometimes props, like witches hats, signs, an
umbrella, get in the way.
47. Robotic movements are a no-no!
The movement should start just before the
students begin speaking, and should end
after the students have spoken.
Students should slowly bring their bodies back
to the original position.
49. Go solo.
Use solo voices sparingly.
The lone voice should be confident and loud.
A solo voice could be used to show something
singular, or a pronouncement.
50. from The Steeple
And tales were told,
And heads were shaken,
What could
To see a village be spoken
in solo?
So forsaken;
51. Props vs miming
Props can get quite clumsy.
Miming is easy.
If you use props, make them bigger than actual
size.
52. NOW YOU TRY IT!
Read The Bookshop by Judith Nicholls
Determine:
1. The poet‟s intention
2. The shifts in mood
3. Which lines carry on
4. How to deal with the beginning and ending