The document discusses encouraging students to reflect on their study habits and develop good learning skills from role models. It provides case studies of two students, Daniel and Kelly, and their daily routines, identifying advantages and disadvantages of each. Students are asked to evaluate their own learning habits and identify classmates who demonstrate skills they want to develop.
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3. Learning Objectives:
•To encourage students to reflect on their study habits
•To encourage students to organize their time in ways that help them to:
(a) Be successful at school
(b) Pursue interests beyond academic life
(c) Have a happy and balanced life
• Develop an ability to learn good study habits from others.
•We are learning this because:
• School is hard work and part of being an effective learner is to develop
habits that get the job done efficiently so you can be happy and have a
balanced life.
• Different students have different learning habits and you can benefit by
trying them out yourself.
We will know if we have been successful if:
• We can readily identify approaches to learning in other students that we
can adopt to help us achieve more.
5. Case Studies
Daniel gets up at 6.15 am, gets dressed and has breakfast. He practices the
piano (grade 6) for half and hour and then leaves for school. When he gets
to school, he goes to the library to read before registration. He is a keen
reader and reads, on average two books per week.
At lunchtime, Daniel often gets together with his friends to work on
homework projects. When he gets home from school, he has a snack and
then reads or goes on the computer. At 4.30 pm, on Mondays, Wednesdays
and Thursdays, his tutor arrives and he does one hour of extra Chinese or
Maths. On Tuesdays he has tennis coaching from 4.30 – 5.30.
At 5.45 Daniel starts his homework. He has dinner with his family at 6.45.
He then does more homework until 8.30 until 8.30 when he takes a bath.
At 9pm, if he has no more homework, he reads. At 9.30 he goes to bed. By
the way, Daniel got an excellent school report.
What do you think are the ADVANTAGES of Daniel’s school life?
What are the DISADVANTAGES?
6. Case Studies
Kelly loves school. She gets there as early as possible (never later than
7.30am) so that she can spend time with her friends in the playground
before registration. They chat and play 4 square.
At break and lunchtime, she hangs out with friends again but if she’s got
homework due in for the next lesson, she gets that done. Sometimes she
asks a friend to help her.
After school, Kelly often invites one or two friends over to her home as she
lives nearby. They usually stay for about an hour and then go home.
Kelly then watches T.V. for a while till her mum gets home from work
(usually around 5.30). Her mum then asks her about homework so she does
some for about twenty to thirty minutes and then has dinner with her family.
After dinner, she has a bath and then watches T.V. or goes on msn.
Her bed time is supposed to be 9.30 but she has a computer in her bedroom
and sometimes she’s on msn till about 10.15.
What do you think are the ADVANTAGES of Kelly’s school life?
What are the DISADVANTAGES?
7. Imitating good learning habits checklist
Read through this list of learning habits and tick the ones you think
describe you. Then in the remaining boxes write the initials of someone in
your class who is like this. Then talk to them to find out how they have
come to be so good at this way of learning.
8. Asking the right questions!
How do you think you developed your ability to ……?
How does it help you with your learning?
Did you learn this habit or have you always had it?
How do you think I could become better at ……..?
Can you remember any key moments when you realised
you were good at this?
What areas on the checklist did you think didn’t describe
you?
Editor's Notes
The 'Fighting Temeraire' tugged to her Last Berth to be broken up 1838-39 Oil on canvas, 91 x 122 cm National Gallery, London TURNER, Joseph Mallord William (b. 1775, London, d. 1851, Chelsea) While the Suffolk-born Constable wished to become a natural painter, Turner, son of a modest barber in Covent Garden, yearned for sublimity. Trained as a topographical draughtsman, he achieved his ambition through mastering the idioms of Claude and of the grander Dutch seventeenth-century marine and landscape painters as well as the melodramatic effects of the scene designer Jacques Philippe de Loutherbourg. Now nearly forgotten, this Alsatian-born member of the French Academy delighted the London public, and influenced artists from Gainsborough to Turner and Joseph Wright of Derby, by staging panoramic peepshows in which painted landscapes, theatrical lighting and sound were combined to simulate natural phenomena and tragic catastrophes. In search of the Sublime, Turner travelled widely, sketching grandiose scenery and extreme weather conditions, which he translated into canvases exhibited with poetic quotations. He considered Dido building Carthage, or the Rise of the Carthaginian Empire (1815) his masterpiece, bequeathing it together with the Sun rising through Vapour to the National Gallery on condition that they be hung beside Claude's Seaport with the Embarkation of the Queen of Sheba and Landscape with the Marriage of Isaac and Rebekah. (This bequest is now honoured.) Turner's emulation of Baroque painting, however, did not exclude modern references, rather transmuting them into 'high' art. In this way he competed with both historic and contemporary masters. The 'Fighting Temeraire' was exhibited at the Royal Academy in 1839 with a quotation from Thomas Campbell's poem Ye Manners of England: The flag which braved the battle and the breeze/No longer owns her'. The Temeraire had distinguished herself at the Battle of Trafalgar in 1805, but by the 1830s the veteran warships of the Napoleonic wars were being replaced by steamships. Turner, on an excursion on the Thames, encountered the old ship, sold out of the service, being towed from Sheerness to Rotherhithe to be scrapped. In his painting topography and shipbuilding alike are manipulated to symbolic and pictorial ends. Turner conceives the scene as a modern Claude: a ghostly Temeraire and the squat black tug, belching fire and soot, against a lurid sunset. His technique is very different from Claude's, as thick impastoed rays and reflections contrast with thinly painted areas, and colours swoop abruptly from light to dark. A heroic and graceful age is passing, a petty age of steam and money bustles to hasten its demise. The dying sun signals the end of the one, a pale reflecting moon the rise of the other. But just as Claude's sunrises and sunsets enlist the viewer's own sense of journey, so does the last berth of the 'Fighting Temeraire' recall the breaking up of every human life
