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This document is a lesson plan about subcultures. The objectives are to develop language skills, introduce students to different youth subcultures and their common traits, promote tolerance for different cultures, and develop creative thinking. The lesson involves students discussing reasons for joining subcultures, popular subcultures today, and adults' views of subcultures. Students read a poem about similarities between subcultures and complete an activity identifying traits. They then work in groups to write their own poems about subcultures using the "Ns, like Ms" grammatical structure from the original poem.
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This document provides the objectives and structure of an English lesson about houses. The lesson aims to teach students about different types of houses in Britain, develop grammar skills using "I would like" and "I like", and have students write short texts about their dream house. The lesson structure includes introducing the topic of homes, presenting a sample text, practicing grammar patterns, group activities where students discuss their texts, and a final creative writing activity where students write their own short texts about their ideal home.
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This document discusses approaches to teaching genres in English class. It defines genres as vague categories with overlapping conventions that works can borrow from. It emphasizes the importance of teaching genres as it focuses attention, teaches context and history, and develops reading and writing habits. The document discusses using inquiry methods to analyze genres, as well as teaching genres through situated practice, instruction with metalanguage, and critical framing of social context. It provides curriculum expectations involving using genres and gives examples of teaching genres through text-based hypertexts, close reading practices, and shifting between genres.
Tie up all the things youve learned this semesterWhen you write .docx
Tie up all the things you've learned this semester:
When you write your essay, I want you to think about the chapter elements that apply to your poem and to your essay approach. Use the checklist to help you!
Can you spot stories under the water of the obvious island in the poem?
Do you have a poem where characters develop?
Is the beginning is a feature to notice?
Is the poem painting a picture?
Obviously, not all those points apply to every poem choice. Pick a poem you want to tackle, then dig for what of those four points you think you can address. Rearrange them in your essay so you have an introduction that invites readers to be interested. Make some points for readers to consider, then wrap up the essay with something we readers should remember about your poem choice--and maybe you can find a twist of thinking for readers: a bit of the author's own words on the poem? a bit of world history that applies? something happening today that could have easily been the same sort of subject?
One warning, poetry tempts writers into including moral lessons. Be careful not to tell us what we must learn from the poem you write about. Describe it fully, analyze what is there, and avoid what isn't. If you do that well, a reader can see the lesson to be learned without you needing to tell us what to think.
_______________________________________________________________________________________
√
Checklist: Getting Ideas for Writing Arguments about Poems
If you are going to write about a short poem (say, under thirty lines), it’s not a bad idea to copy out the poem, writing or typing it double-spaced. By writing it out you will be forced to notice detail, down to the punctuation. After you have copied the poem, proofread it carefully against the original. Catching and error—even the addition or omission of a comma—may help you to notice a detail in the original that you might otherwise have overlooked. And now that you have the poem with ample space between the lines, you have a worksheet with room for jottings.
A good essay is based on a genuine response to a poem; a response may be stimulated in part by first reading the poem aloud and then considering the following questions.
First Response
o
What was your response to the poem on first reading?
Did some parts especially please or displease you, or puzzle you? After some study—perhaps checking the meanings of some words in a dictionary and reading the poem several times—did you modify your initial response to the parts and to the whole?
Speaker and Tone
o
Who is the speaker?
(Consider age, sex, personality, frame of mind, and tone of voice.) Is the speaker defined precisely (for instance, an older woman speaking to a child), or is the speaker simply a voice meditating? (Jot down your first impressions, then reread the poem and make further jottings, if necessary.)
o
Do you think the speaker is fully aware of what he or she is saying,
or does the speaker unconsciously reveal his o.
PoetryTie up all the things youve learned this semesterWhen yo.docx
Poetry
Tie up all the things you've learned this semester:
When you write your essay, I want you to think about the chapter elements that apply to your poem and to your essay approach. Use the checklist to help you!
Can you spot stories under the water of the obvious island in the poem?
Do you have a poem where characters develop?
Is the beginning is a feature to notice?
Is the poem painting a picture?
Obviously, not all those points apply to every poem choice. Pick a poem you want to tackle, then dig for what of those four points you think you can address. Rearrange them in your essay so you have an introduction that invites readers to be interested. Make some points for readers to consider, then wrap up the essay with something we readers should remember about your poem choice--and maybe you can find a twist of thinking for readers: a bit of the author's own words on the poem? a bit of world history that applies? something happening today that could have easily been the same sort of subject?
One warning, poetry tempts writers into including moral lessons. Be careful not to tell us what we must learn from the poem you write about. Describe it fully, analyze what is there, and avoid what isn't. If you do that well, a reader can see the lesson to be learned without you needing to tell us what to think.
_______________________________________________________________________________________
√ Checklist: Getting Ideas for Writing Arguments about Poems
If you are going to write about a short poem (say, under thirty lines), it’s not a bad idea to copy out the poem, writing or typing it double-spaced. By writing it out you will be forced to notice detail, down to the punctuation. After you have copied the poem, proofread it carefully against the original. Catching and error—even the addition or omission of a comma—may help you to notice a detail in the original that you might otherwise have overlooked. And now that you have the poem with ample space between the lines, you have a worksheet with room for jottings.
A good essay is based on a genuine response to a poem; a response may be stimulated in part by first reading the poem aloud and then considering the following questions.
First Response
o
What was your response to the poem on first reading?
Did some parts especially please or displease you, or puzzle you? After some study—perhaps checking the meanings of some words in a dictionary and reading the poem several times—did you modify your initial response to the parts and to the whole?
Speaker and Tone
o
Who is the speaker?
(Consider age, sex, personality, frame of mind, and tone of voice.) Is the speaker defined precisely (for instance, an older woman speaking to a child), or is the speaker simply a voice meditating? (Jot down your first impressions, then reread the poem and make further jottings, if necessary.)
o
Do you think the speaker is fully aware of what he or she is saying,
or does the speaker unconsci.
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This document provides teaching resources for analyzing poetry for the LL1 section of the GCE English Language and Literature exam. It includes frameworks for analyzing single poems and comparing poems, as well as guidance on contextualizing poems and using grammar concepts like nouns and adjectives. Practical suggestions are given for structuring poetry lessons, such as having students analyze poems in groups and providing unseen texts to analyze. Sample activities include identifying parts of speech in poems and researching poets' biographical and historical contexts.
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This document provides the objectives and structure of an English lesson about houses. The lesson aims to teach students about different types of houses in Britain, develop grammar skills using "I would like" and "I like", and have students write short texts about their dream house. The lesson structure includes introducing the topic of homes, presenting a sample text, practicing grammar patterns, group activities where students discuss their texts, and a final creative writing activity where students write their own short texts about their ideal home.
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This document discusses approaches to teaching genres in English class. It defines genres as vague categories with overlapping conventions that works can borrow from. It emphasizes the importance of teaching genres as it focuses attention, teaches context and history, and develops reading and writing habits. The document discusses using inquiry methods to analyze genres, as well as teaching genres through situated practice, instruction with metalanguage, and critical framing of social context. It provides curriculum expectations involving using genres and gives examples of teaching genres through text-based hypertexts, close reading practices, and shifting between genres.
Tie up all the things youve learned this semesterWhen you write .docx
Tie up all the things you've learned this semester:
When you write your essay, I want you to think about the chapter elements that apply to your poem and to your essay approach. Use the checklist to help you!
Can you spot stories under the water of the obvious island in the poem?
Do you have a poem where characters develop?
Is the beginning is a feature to notice?
Is the poem painting a picture?
Obviously, not all those points apply to every poem choice. Pick a poem you want to tackle, then dig for what of those four points you think you can address. Rearrange them in your essay so you have an introduction that invites readers to be interested. Make some points for readers to consider, then wrap up the essay with something we readers should remember about your poem choice--and maybe you can find a twist of thinking for readers: a bit of the author's own words on the poem? a bit of world history that applies? something happening today that could have easily been the same sort of subject?
One warning, poetry tempts writers into including moral lessons. Be careful not to tell us what we must learn from the poem you write about. Describe it fully, analyze what is there, and avoid what isn't. If you do that well, a reader can see the lesson to be learned without you needing to tell us what to think.
_______________________________________________________________________________________
√
Checklist: Getting Ideas for Writing Arguments about Poems
If you are going to write about a short poem (say, under thirty lines), it’s not a bad idea to copy out the poem, writing or typing it double-spaced. By writing it out you will be forced to notice detail, down to the punctuation. After you have copied the poem, proofread it carefully against the original. Catching and error—even the addition or omission of a comma—may help you to notice a detail in the original that you might otherwise have overlooked. And now that you have the poem with ample space between the lines, you have a worksheet with room for jottings.
A good essay is based on a genuine response to a poem; a response may be stimulated in part by first reading the poem aloud and then considering the following questions.
First Response
o
What was your response to the poem on first reading?
Did some parts especially please or displease you, or puzzle you? After some study—perhaps checking the meanings of some words in a dictionary and reading the poem several times—did you modify your initial response to the parts and to the whole?
Speaker and Tone
o
Who is the speaker?
(Consider age, sex, personality, frame of mind, and tone of voice.) Is the speaker defined precisely (for instance, an older woman speaking to a child), or is the speaker simply a voice meditating? (Jot down your first impressions, then reread the poem and make further jottings, if necessary.)
o
Do you think the speaker is fully aware of what he or she is saying,
or does the speaker unconsciously reveal his o.
PoetryTie up all the things youve learned this semesterWhen yo.docx
Poetry
Tie up all the things you've learned this semester:
When you write your essay, I want you to think about the chapter elements that apply to your poem and to your essay approach. Use the checklist to help you!
Can you spot stories under the water of the obvious island in the poem?
Do you have a poem where characters develop?
Is the beginning is a feature to notice?
Is the poem painting a picture?
Obviously, not all those points apply to every poem choice. Pick a poem you want to tackle, then dig for what of those four points you think you can address. Rearrange them in your essay so you have an introduction that invites readers to be interested. Make some points for readers to consider, then wrap up the essay with something we readers should remember about your poem choice--and maybe you can find a twist of thinking for readers: a bit of the author's own words on the poem? a bit of world history that applies? something happening today that could have easily been the same sort of subject?
One warning, poetry tempts writers into including moral lessons. Be careful not to tell us what we must learn from the poem you write about. Describe it fully, analyze what is there, and avoid what isn't. If you do that well, a reader can see the lesson to be learned without you needing to tell us what to think.
_______________________________________________________________________________________
√ Checklist: Getting Ideas for Writing Arguments about Poems
If you are going to write about a short poem (say, under thirty lines), it’s not a bad idea to copy out the poem, writing or typing it double-spaced. By writing it out you will be forced to notice detail, down to the punctuation. After you have copied the poem, proofread it carefully against the original. Catching and error—even the addition or omission of a comma—may help you to notice a detail in the original that you might otherwise have overlooked. And now that you have the poem with ample space between the lines, you have a worksheet with room for jottings.
A good essay is based on a genuine response to a poem; a response may be stimulated in part by first reading the poem aloud and then considering the following questions.
First Response
o
What was your response to the poem on first reading?
Did some parts especially please or displease you, or puzzle you? After some study—perhaps checking the meanings of some words in a dictionary and reading the poem several times—did you modify your initial response to the parts and to the whole?
Speaker and Tone
o
Who is the speaker?
(Consider age, sex, personality, frame of mind, and tone of voice.) Is the speaker defined precisely (for instance, an older woman speaking to a child), or is the speaker simply a voice meditating? (Jot down your first impressions, then reread the poem and make further jottings, if necessary.)
o
Do you think the speaker is fully aware of what he or she is saying,
or does the speaker unconsci.
Eng Lang Lit Spec
This document provides teaching resources for analyzing poetry for the LL1 section of the GCE English Language and Literature exam. It includes frameworks for analyzing single poems and comparing poems, as well as guidance on contextualizing poems and using grammar concepts like nouns and adjectives. Practical suggestions are given for structuring poetry lessons, such as having students analyze poems in groups and providing unseen texts to analyze. Sample activities include identifying parts of speech in poems and researching poets' biographical and historical contexts.
Picture poems
The document discusses various types of pattern poems that can be used in the English as a Foreign Language (EFL) classroom to help students learn vocabulary, grammar structures, and creative writing skills in an engaging way. It provides examples of different types of pattern poems like acrostic poems, haiku poems, phrase poems, and "I am" poems. It also discusses the learning benefits of using pattern poems, such as reinforcing grammar, increasing vocabulary, developing writing skills, and providing an outlet for self-expression.
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The document describes a poetry activity where students examine items in a "poetry jar" and are prompted to describe what they see and associate it with words, phrases, situations, and questions. Students then search through poetry books to find a poem that connects to what they saw in the jar. The activity is meant to engage students physically with poetry by having them look through books and think about why they chose a particular poem. It also promotes reading aloud and metacognition about their process.
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The combination of different media types like text, images, audio, video and animation allows for richer and more engaging experiences compared to single-medium
MODULE 3 content and text-day.pdf
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1. Text - Written content such as articles, stories, poems, scripts, captions, etc.
2. Images - Still images like photos, drawings, infographics, etc.
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This document summarizes various theories and strategies related to developing students' writing abilities. It discusses that there is no single writing process, and that writing and reading are best learned through practice. Effective writing instruction provides choice, time, and models for students. Feedback should highlight strengths and areas for improvement. Different types of writing are evaluated based on their purpose. Teachers need to understand individual students' strengths and needs. Effective writing practices provide enabling constraints to structure learning while allowing flexibility.
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This document summarizes various theories and strategies related to developing students' writing abilities. It discusses that there is no single writing process, and that writing and reading are best learned through practice. Effective writing instruction provides choice, time, and models for students. Feedback should highlight strengths and areas for improvement. Different types of writing are evaluated based on their purpose. Teachers need to understand individual students' strengths and needs. Effective writing practices provide enabling constraints to structure learning while allowing flexibility.
Writing J27
This document summarizes various theories and strategies related to developing students' writing abilities. It discusses that there is no single writing process, and that writing and reading are best learned through practice. Effective writing instruction provides choice, time, and models for students. Feedback should highlight strengths and areas for improvement. Different types of writing are evaluated based on their purpose. Teachers need to understand individual students' strengths and needs. Effective writing practices provide enabling constraints to structure learning while allowing flexibility.
Writing J27
This document summarizes various theories and strategies related to developing students' writing abilities. It discusses that there is no single writing process, and that writing and reading are best learned through practice. Effective writing instruction provides choice, time, and models for students. Feedback should highlight strengths and areas for improvement. Different types of writing are evaluated based on their purpose. Teachers need to understand individual students' strengths and needs. Effective writing practices provide enabling constraints to structure learning while allowing flexibility.
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This document summarizes various theories and strategies related to developing student writing. It discusses that there is no single process that defines how all writers write, and that writing is thinking and learning to write comes through writing and reading. Effective strategies include giving students choice, time, models of good writing, and constructive feedback. Evaluation should highlight strengths and areas for improvement. Good writing differs depending on purpose and teachers should know their students' strengths and needs. The document also discusses different types of knowledge related to writing and provides examples of writing practices and exercises teachers can use to develop different writing skills in students.
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This document provides an overview of various writing strategies and theories. It discusses that there is no single process that defines how all writers write, and that writing is thinking and learning to write comes through writing and reading. It emphasizes that writers need choice, time, models of good writing, and constructive feedback. Evaluation of writing should highlight strengths and areas for improvement. The document also discusses different types of knowledge related to writing like declarative, procedural and conditional knowledge. It provides examples of different writing practices and enabling constraints that can be used to teach writing while allowing flexibility.
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PSY101H: Week 3 Assignment Page 1
`Worksheet: The Cocktail Party Phenomenon
Assignment Overview
Imagine that you are at an office party, a holiday party, or a gathering of friends at the home of a neighbor and you are engaged in a discussion with a friend. Suddenly, you hear your name mentioned by an individual engaged in a conversation behind you. You become unable to concentrate on your discussion, because you are too busy trying to hear what the people are saying about you. You know you were not deliberately eavesdropping on this conversation, but you know that you heard your name. Is it possible that you were unconsciously eavesdropping?
In this assignment, you will describe the reasons behind a phenomenon referred to as “The Cocktail Party Phenomenon.”
Assignment Details
· Complete the reading assignment and the interactive lesson before attempting this assignment.
· Using LIRN or other online reliable Internet resources prepare responses to the questions below.
· Your responses (approximately 250 words) must have correct spelling and grammar.
· Use APA format: double space, 12 pt Times New Roman font, 1” margins
· Submit Week 3 Assignment via Blackboard by clicking on th ...
Unseen poem exam practice
The document provides guidance on how to approach the unseen poetry question for an English Literature exam. It advises spending 30 minutes on the question and focusing on two assessment objectives: AO1, responding critically and imaginatively to the poem by selecting evidence, and AO2, explaining how the poet uses language, structure and form to present ideas and themes. It recommends closely analyzing the poem's language, imagery, structure, form and techniques and using multiple quotes to support a developed response. Sample planning questions and paragraphs are also provided as examples.
Teens talk poems-2010
The document provides an introduction to poetic devices commonly used in poetry such as metaphor, simile, personification, imagery, oxymoron, hyperbole, tone, mood, allusion and repetition. It then discusses different types of poems including rhyming poems, free verse, narrative poems, and sonnets. The workbook aims to help teens analyze poems by having them answer comprehension questions, visualize images, and respond with their own writing.
Marj Kirkland: Literature Circles
Marj Kirkland's presentation at the Literature Circles workshop -- Hands On Literacy conference, Nov. 15, 2008, in Singapore
Hrg 97-2004
The document summarizes three 18th century British artists:
Hogarth was a satirist known for his humorous observations of human behavior and belief that art was a creative force in society. Reynolds was an important painter who conceived portraits as history paintings and was influenced by Old Masters. He became the first president of the Royal Academy. Gainsborough said he was a landscape painter but was known for portraits, which he often painted within landscapes. He was also a musician and lover of drama.
Hrg 97-2004
The document summarizes three 18th century British artists:
Hogarth was a satirist known for his humorous observations of human behavior and belief that art should influence society. Reynolds was a portrait painter who drew inspiration from Old Masters and served as the first president of the Royal Academy. Gainsborough described himself as a landscape painter but was known for his portraits, which were often painted within a landscape setting. He had other artistic interests including music and drama.
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PSY101H: Week 3 Assignment Page 1
`Worksheet: The Cocktail Party Phenomenon
Assignment Overview
Imagine that you are at an office party, a holiday party, or a gathering of friends at the home of a neighbor and you are engaged in a discussion with a friend. Suddenly, you hear your name mentioned by an individual engaged in a conversation behind you. You become unable to concentrate on your discussion, because you are too busy trying to hear what the people are saying about you. You know you were not deliberately eavesdropping on this conversation, but you know that you heard your name. Is it possible that you were unconsciously eavesdropping?
In this assignment, you will describe the reasons behind a phenomenon referred to as “The Cocktail Party Phenomenon.”
Assignment Details
· Complete the reading assignment and the interactive lesson before attempting this assignment.
· Using LIRN or other online reliable Internet resources prepare responses to the questions below.
· Your responses (approximately 250 words) must have correct spelling and grammar.
· Use APA format: double space, 12 pt Times New Roman font, 1” margins
· Submit Week 3 Assignment via Blackboard by clicking on th ...
Unseen poem exam practice
The document provides guidance on how to approach the unseen poetry question for an English Literature exam. It advises spending 30 minutes on the question and focusing on two assessment objectives: AO1, responding critically and imaginatively to the poem by selecting evidence, and AO2, explaining how the poet uses language, structure and form to present ideas and themes. It recommends closely analyzing the poem's language, imagery, structure, form and techniques and using multiple quotes to support a developed response. Sample planning questions and paragraphs are also provided as examples.
Teens talk poems-2010
The document provides an introduction to poetic devices commonly used in poetry such as metaphor, simile, personification, imagery, oxymoron, hyperbole, tone, mood, allusion and repetition. It then discusses different types of poems including rhyming poems, free verse, narrative poems, and sonnets. The workbook aims to help teens analyze poems by having them answer comprehension questions, visualize images, and respond with their own writing.
Marj Kirkland: Literature Circles
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The document summarizes three 18th century British artists:
Hogarth was a satirist known for his humorous observations of human behavior and belief that art was a creative force in society. Reynolds was an important painter who conceived portraits as history paintings and was influenced by Old Masters. He became the first president of the Royal Academy. Gainsborough said he was a landscape painter but was known for portraits, which he often painted within landscapes. He was also a musician and lover of drama.
Hrg 97-2004
The document summarizes three 18th century British artists:
Hogarth was a satirist known for his humorous observations of human behavior and belief that art should influence society. Reynolds was a portrait painter who drew inspiration from Old Masters and served as the first president of the Royal Academy. Gainsborough described himself as a landscape painter but was known for his portraits, which were often painted within a landscape setting. He had other artistic interests including music and drama.
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The document discusses Beethoven's Moonlight Sonata. It was composed in 1801 and dedicated to his pupil Countess Giulietta Gucciardi. Though later nicknamed the "Moonlight Sonata" by a poet, some believe the somber first movement was inspired by Beethoven's unrequited love for Gucciardi or mourning the death of a friend. The sonata has three movements and is one of Beethoven's most popular piano works.
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The document discusses the goals and tasks of a lesson on youth subcultures in Russia. The lesson aims to develop students' logical-mathematical, musical, and naturalistic intelligence. Students will be tasked with identifying different youth subcultures from songs and discussing texts about subcultures. The lesson also aims to foster tolerance and develop students' abilities to analyze, synthesize, and express their own opinions. Students will be divided into groups representing different stakeholders to develop programs addressing issues around youth subcultures in Russia.
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The document discusses the hippie subculture. It begins with a teacher asking students what subcultures they know of and their characteristics. When the teacher mentions flowers, the students correctly guess it's referring to hippies. The document then has students read a text about hippie culture and fill out a chart about what they know and have learned. It provides discussion questions about the hippie movement that students answer as a group. Finally, the class has a discussion about hippie culture that a smaller group listens to and takes notes on.
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Racism refers to the belief that race determines human traits and that racial differences produce inherent superiority. There are a number of small neo-Nazi groups in the United States today that have formed since the 1920s, though their popularity has fluctuated. While the First Amendment allows freedom of speech, including racist and anti-Semitic views, neo-Nazi groups have faced legal issues for certain actions like soliciting murder. The concept of American exceptionalism refers to the belief that the United States differs qualitatively from other developed nations through its values and political institutions.
фрагмент урока
The document discusses the goals and tasks of a lesson on youth subcultures in Russia. The lesson aims to develop students' logical-mathematical, musical, and naturalistic intelligence. Students will be tasked with identifying different youth subcultures from songs and discussing texts about subcultures. The lesson also aims to foster tolerance and develop students' abilities to analyze, synthesize, and express their own opinions. Students will be divided into groups representing different stakeholders to develop programs addressing issues around youth subcultures in Russia.
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модельный текст
- 1. Subcultures By Alyona Sosnina and DariaDavydova Модельный текст. УМК Кузовлев 10-11
- 5. Why do teens join subcultures? What subcultures are popular nowadays? Why are adults usually against youth subcultures? Do you think the phenomenon of subcultures is mainly positive or negative?