DOCSLIB.ORG

The Monster Book

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Monster Book THE MONSTER BOOK of Language Teaching Activities THE MONSTER BOOK of Language Teaching Activities A Teacher’s Resource Book of Fun Template Activities for Use in the English Language Classroom THIRD EDITION 2019 © 2019 by Office of English Language Programs, Bureau of Educational and Cultural Affairs, U.S. Department of State. The Monster Book of Language Teaching Activities. This work is licensed under the Creative Commons Attribution 4.0 License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ Activities compiled by: Maria Snarski Do you have an idea to contribute? Send it here: [email protected] Layout and Design: FeatherMate Designs and Global Publishing Solutions web.gps.state.gov Copyediting by Global Publishing Solutions Icons by Muhammad Ali Hashmi, Arts and Graphics Assistant, U.S. Embassy Islamabad, Pakistan Cover image and all illustrations by the extremely talented Ricardo Anderson [email protected] All images CCBY. Please see https://creativecommons.org/share-your-work/public-domain/cc0/ for details. This publication is available free of charge online at: www.americanenglish.state.gov Office of English Language Programs Bureau of Educational and Cultural Affairs U.S. Department of State americanenglish.state.gov Introduction This third edition ofThe Monster Book of Language Teaching Activities is licensed under the Creative Commons Attribution 4.0, which makes it an even more flexible resource for language educators. I am very grateful to all the contributors for agreeing to share their work in this way in order for more educators to have access to this collection. The Monster Book remains a collection of over 150 activities intended to liven up the language classroom, en- gage students in learning, and give instructors straightforward, active options for practicing the four skills and tapping into other elements of language such as grammar, vocabulary, critical thinking, and culture. Many of these activities have been used in the field for several years and are compiled here with simple, clear instructions and variations to fit a wide range of classroom contexts. The activities are organized into 16 sections as a starting point for exploring the ideas rather than hard and fast divisions. The Table of Contents includes descriptive icons to further illustrate the scope and flexibility of each activity. Each entry should be looked at as a template activity for instructors to use. Instructors should insert their own content as appropriate, tweak the activity using any of the variations listed, or bring their own ideas to the activity to suit their context and the performance objectives of the lesson. For example, for the Dialogue Line activity on page 56, there is endless “content” that can be inserted that will allow learners to get speak- ing practice, whether it be for a particular structure, topic, or function. Possibilities include low-level students introducing themselves to a partner, intermediate-level students describing their home or talking about their family, and more advanced students giving their opinion on a controversial topic such as gender quality or how to improve education or reduce corruption. Each time students change partners in the Dialogue Line and repeat the task, they are getting authentic practice with the language structure, helping increase their fluency and building their confidence in the language. Most activities allow for great variation. The impetus to createThe Monster Book came from the programs of English Language Specialist David Malat- esta in Turkey and Brazil between 2006–2010. From these workshops, it was evident that teachers appreciated experiencing interactive classroom activities in order to better understand how these could help support learn- ing in the classroom. Experiencing them in the workshops helped the teachers gain confidence to try them in their classroom. With David’s permission, I formatted the activities he introduced to teachers, solicited additional ideas from colleagues around the world, and organized them into the sections you see in this book. Care has been taken to ensure credit was given to those who contributed the ideas and sources are cited when- ever known. Any lack of proper acknowledgement in this collection is unintentional. Deep appreciation goes out to all the educators who have contributed ideas in order to create this resource. Feedback and any addi- tional ideas are always welcome for future editions. Please send them to [email protected]. Acknowledgements for contributions: English Language Fellows in Brazil (Elizabeth Crockett Hixon, Julie Holaway, Jenny Otting, Anna Grigoryan, Scott Chiverton, Melanie Brooks, Monica Wiesmann-Hirchert), Brazilian Train the Trainer Participants (Adeli Muniz, Alessandra Oliveira Quirino, Alexandre dos Santos Oliveira, Ana Beatriz Pereira Franco, Ariella de Jesus Alves, Daise Lilian Fonseca Dias, Dulce Pazinato Casarin, Erika Suellem Castro da Silva, Isabela de Freitas Villas Boas, Josélia Batista Santos, Jussara Perin, Lilianne de Souza Oliveira, Márcia Maria dos Santos, Maria Cristina Damianovic, Samara Camilo Tomé Costa, Roberta Freitas), Fulbright ETAs in Brazil 2010 (Lauren Koepke, Caitlin Lynch, Candice Dagnino, Dunja Zdero, Kaley Walsh, Christopher Ellison, Aaron Nilson, Avio Tai, Carolyn Wright, Caroline Strelitz, Christina Pope, Oak Rankin, Gabriela Baca, Allison Maranuk, Drew Firmender, Amalia Zeidman, Carolina Escalera, Cara Snyder, Sarah Nicholus); Additional gratitude to: Aycan Yaman Esen (U.S. Embassy Ankara), Helmara F. Real de Moraes (U.S. Embassy Brasília), Thais Hernandez, Nicholas Daly, Katelyn Omans, Lauren Hobby, Trevor Fay, Alexander Werner, Gabriel Friedman, Chris Cote, Claudia Seixas, Kristen Dunlap, Lindsay Bowman, Reuben Clark, Rael Silva, Christine Canning-Wilson. Public School Teacher Development Participants in Brazil (Alberto Guerra, Alessandra Teixeira, Aline Goulart Corrêa, Patricia Moura Santos, Patricia Silva Santiago Melo, Augusto Castilho, Fabrícia Eugênia Gomes de Andrade, Fernanda Eline, Francine Marteloti, Claudenise de Paula Santos, Danieli Spagnol Oliveira Correia, Carla Castro, Débora Mariana Ribeiro, Pedro Moura de Souza, Estela Knitter Barros, Giselly Maia Rodrigues de Miranda, Bianca Conte, Marcos Souza, Lourdes Sousa, Cristiane Andrade, Sandra Olivera, Jefferson de Paula Silva, Juliane Guedes Menino, Vagner Matias da Silva, Karina Aparecida Vicentin, Margarete de Carvalho Santos, Maria Cecília Marques Kosoba, Mariana Neves Neubra, Melissa Zanardo, Tatiana Ferreira Costa, Ricardo Anderson, Sergio Onofre Pantoja Junior, Marcia Pinheiro), ELT Professionals (Andrea Billíková, Aydan Ersöz, Bill Snyder, Brock Brady, Carol Clark, Cristiane Tinoco, David Malatesta, Don Johnson, Efrain Diaz, Elisa Borges, Erik Lundell, Evrim Üstünlüoğlu, Isabela de Freitas Villas Boas, Kristin Lems, Lize Vorster, María Isabel Freyre, María Rosa Mucci, Matías Ansaldo, Dr. Myrtis Mixon, Nanda Klapwijk, Nora N Lerena, Patrisius Istiarto Djiwandono, Silvana Giménez Amadeo, Diane Millar, Harold Samuels, Katie Ryan, Caralyn Bushey, Staff at Hawaii Pacific University),USG Exchange Participants (Arindam Sengupta, Augusto Castilho, Brian Sibanda, Carla Castro, Heather Damba, Hicham Mahda, Kyungu Lwamba, Monica Wiesmann-Hirchert, Keamogetswe Naledi Seipato, Nazaire Massamba, Portia Tshivhase, Vagner Matias da Silva). Table of Contents Page Activity Name Level Skill Practice B I A L S R W G V C K T T 1 1. LEAD-INS 4 Corner Name Tents 5 Roll Call/Attendance 6 Entrance/Exit Activity 7 Bell Activity 8 Find Someone Who 10 In Common (and Not) 12 Scavenger Hunt 14 Discussion Starter 15 I Know English 16 This That 17 Class Poll 18 I’ve Never 19 2. LISTENING 22 Tense Statements 24 True/False 25 Supermarket Ads 26 Fast-Food Placemats 27 Listen On Your Feet Beginner Intermediate Advanced Listening Speaking Reading Writing Grammar Vocabulary Critical Thinking Kinesthetic Tactile The Monster Book of Language Teaching Activities Page Activity Name Level Skill Practice B I A L S R W G V C K T T 28 Movers and Shakers 29 Speed Mimes 30 TPRS 32 Jump to the Right/Left 33 The Line 34 Cross Out 35 3. MUSIC 39 Disappearing Song 40 Question Quest 41 Song Bingo 42 Express Your Feelings 43 Antonyms 44 Correcting You’re Your Grammar 45 Mixed-Up Lyrics 46 Music Moves 47 Song Groups 48 One, Several, Many Drawing to Instrumental 49 Music 51 4. SPEAKING 54 Four Corners 56 Dialogue Line 57 Go Fishing 58 Tiny Bubbles in the Air! 59 Interrupt My Story! The Monster Book of Language Teaching Activities Page Activity Name Level Skill Practice B I A L S R W G V C K T T 60 In/Out Reporting 61 Expert Panel 62 Prove It! 63 Hot and Cold 64 Me Too! 65 Clap Snap 66 Comparisons 67 Two Truths and a Lie 68 Guest Speaker 69 Talk Time 71 5. STORYTELLING 74 Teacher Tell; Student Retell 75 Object-Based Storytelling 76 Vocabulary Stories 77 Drawings from a Story 78 2.0 Stories 79 Readers’ Theater 80 Historical Fiction Stories See also: Story Improv (p. 92) Story Strips (p. 107) Story Starters (p. 141) Picture Chain Story (p. 202) 81 6. DRAMA 85 Drama Box 86 Soundscapes The Monster Book of Language Teaching Activities Page Activity Name Level Skill Practice B I A L S R W G V C K T T 87 Move as If 88 Conversation Letters 89 Dubbing 90 Dialogue Aside 91 Alphabet Conversation Drama 92 Story Improv 93 Emotional Choral Reading 94 Twisted Fairy Tale 95 Replacement Role Play 97 7. READING 101 One-Minute Reading 102 Scan for It 104 KNEFL Chart 105 Reading Warm-Up 106 Pre-Reading Quiz 107 Story Strips 108 Jigsaw 1 109 Jigsaw 2 110 Jigsaw Memory 111 Group Reading Diary Emotional Intelligence 112 Scripting 113 Group Mind Map 114 Scaffolded Questioning See also Culture Paragraphs (pp. 230–243) The Monster Book of Language Teaching Activities Page Activity Name Level Skill Practice B I A L S R W G V C K T T 117 8. VOCABULARY 120 What Is This? 121 List It 122 Fly Swatter Game 123 Dominoes 124 Color Idioms 125 Word Wall 126 Buzz Ban Cards 127 Letter Link 128 Word Ladder 129 Letter Loans 130 Marshmallow Spelling 131 9.
Load more

Recommended publications
  • Campfire Songs
    Antelope Books In collaboration with W1-609-17-2 Productions Antelope Books In collaboration with W1-609-17-2 Productions Four Reasons to Sing Loud SCOUT OATH 1. If God gave you a good voice, sing loud. On my honor, I will do my best He deserves to hear it. To do my duty to God and my country And to obey the Scout Law; 2. If God gave you a good voice, sing loud. To help other people at all times; We deserve to hear it. To keep myself physically strong, 3. If God did not give you a beautiful singing voice, sing loud. Mentally awake and morally straight. Who is man to judge what God has given you? SCOUT LAW OUTDOOR CODE 4. If God did not give you a beautiful singing voice, sing out A Scout is: As an American loud, sing out strong… God deserves to hear it. Trustworthy I will do my best to - He has no one to blame but Himself! Loyal Be clean in my outdoor manners Helpful Be careful with fire Friendly Be considerate in the outdoors Courteous Be conservation minded Kind Obedient SCOUT MOTTO Cheerful Be prepared! Thrifty Brave SCOUT SLOGAN Clean Do a good turn daily! Reverent Four Reasons to Sing Loud SCOUT OATH 1. If God gave you a good voice, sing loud. On my honor, I will do my best He deserves to hear it. To do my duty to God and my country And to obey the Scout Law; 2. If God gave you a good voice, sing loud.
    [Show full text]
  • Laurie Lewis Cd Catalog
    LAURIE LEWIS CD CATALOG Skippin’ and Flyin’ Hills to Hollers - Live Steam and Steel Laurie Lewis’ homage to the Father of From the hills of bluegrass to the hol- Great railroading songs, sung by Scott Bluegrass, Bill Monroe, on the occasion of lers of the African-American musical Huffman, Tom Rozum, and Laurie Lewis. the 100th anniversary of his birth experience, they delve deep into the rich Originally produced and recorded for the With Tom Rozum, Todd Phillips, Craig Smith, history of both white and black musical Mid-Continent Railway Historic Society and Linda Ronstadt traditions from the American South Laurie Lewis, Tom Rozum, Scott Huffman, Old Ten Broeck Laurie Lewis, Linda Tillery, and Barbara Higbie Patrick Sauber, Chad Manning, Bobby Black, What’s Good For You Midnight Special and Andrew Conklin The Pharaoh’s Daughter Black Girl/In the Pines Old Saginaw Hartfordtown 1944 Working Girl Blues Denver & Rio Grande Tuck Away My Lonesome Blues Here Today Memories, Childhood Days I Don’t Care Anymore Rosie The Wreck of the No. 9 A Lonesome Road Pharaoh’s Daughter Passenger Train Dreams Tip the Canoe Rutland Road American Chestnuts Toots Blues East Broad Top Carters’ Blues Cold Front Morning (piano solo) The O & W Line Fair Beauty Bright I’m So Lonesome I Could Cry The Ballad of Bill Strauss Blue Moon of Kentucky Hollerin’ Four Ribbons of Light I Ain’t Gonna Work Tomorrow San Francisco Bay Blues $15 Going Away $15 $15 Blossoms Live The Golden West Featuring many of Laurie’s original songs, Three magical nights captured on a Highly-acclaimed
    [Show full text]
  • Comprehending POETRY
    Easy-to-Use—But Challenging—Activities Series Comprehending POETRY Grades 4-8 by CharlesF Comprehending Poetry The WHY April is National Poetry Month, but poetry belongs in classrooms all year round. Poetry standards appear across the grades, and because students have a lot they can learn when it comes to poetry, they need lots of exposure to a range of types, features, and so forth. Yet, teachers and students might tend to shy away from it, making it one of the least read genres. The good news is that the more you read it, the more you “get it”—and there are easy-to-use scaffolds and strategies for getting it. The WHAT “Comprehending POETRY” is part of the easy-to-use—but challenging—activities series by CharlesF. There are five activities that can be easily adjusted for grades 4 through 8 by choosing poems that are appropriately challenging for your particular students. The activities primarily focus on interpreting poetry (Common Core Reading/Literature standards 2, 5, and 9, depending on the grade level), but also require students to show their understanding of structure, inferring, story elements, and so forth. Here’s what’s waiting inside: Contents 1 The Critic’s Corner 2 I Saw That Coming 3 Get in Line 4 These Are All About . 5 I Spy The High Points ALL of the activities are literature based, so they will work well with whatever poems you already have planned for your students. Each activity has a “TEACHER PAGE” that tells you what you need to know. The “WHY” section lets you know quickly why you would want to do the activity and the “HOW” section provides a step-by-step plan.
    [Show full text]
  • A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.
    [Show full text]
  • Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha E Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G
    Song Catalogue February 2020 Artist Title 2 States Mast Magan 2 States Locha_E_Ulfat 2 Unlimited No Limit 2Pac Dear Mama 2Pac Changes 2Pac & Notorious B.I.G. Runnin' (Trying To Live) 2Pac Feat. Dr. Dre California Love 3 Doors Down Kryptonite 3Oh!3 Feat. Katy Perry Starstrukk 3T Anything 4 Non Blondes What's Up 5 Seconds of Summer Youngblood 5 Seconds of Summer She's Kinda Hot 5 Seconds of Summer She Looks So Perfect 5 Seconds of Summer Hey Everybody 5 Seconds of Summer Good Girls 5 Seconds of Summer Girls Talk Boys 5 Seconds of Summer Don't Stop 5 Seconds of Summer Amnesia 5 Seconds of Summer (Feat. Julia Michaels) Lie to Me 5ive When The Lights Go Out 5ive We Will Rock You 5ive Let's Dance 5ive Keep On Movin' 5ive If Ya Getting Down 5ive Got The Feelin' 5ive Everybody Get Up 6LACK Feat. J Cole Pretty Little Fears 7Б Молодые ветра 10cc The Things We Do For Love 10cc Rubber Bullets 10cc I'm Not In Love 10cc I'm Mandy Fly Me 10cc Dreadlock Holiday 10cc Donna 30 Seconds To Mars The Kill 30 Seconds To Mars Rescue Me 30 Seconds To Mars Kings And Queens 30 Seconds To Mars From Yesterday 50 Cent Just A Lil Bit 50 Cent In Da Club 50 Cent Candy Shop 50 Cent Feat. Eminem & Adam Levine My Life 50 Cent Feat. Snoop Dogg and Young Jeezy Major Distribution 101 Dalmatians (Disney) Cruella De Vil 883 Nord Sud Ovest Est 911 A Little Bit More 1910 Fruitgum Company Simon Says 1927 If I Could "Weird Al" Yankovic Men In Brown "Weird Al" Yankovic Ebay "Weird Al" Yankovic Canadian Idiot A Bugs Life The Time Of Your Life A Chorus Line (Musical) What I Did For Love A Chorus Line (Musical) One A Chorus Line (Musical) Nothing A Goofy Movie After Today A Great Big World Feat.
    [Show full text]
  • Can a Question Be a Lie? an Empirical Investigation July 2020 Forthcoming in Ergo
    Can a question be a lie? An empirical investigation July 2020 Forthcoming in Ergo Emanuel Viebahn (Humboldt University of Berlin, [email protected])* Alex Wiegmann (Ruhr University Bochum, [email protected])* Neele Engelmann (Georg August University Göttingen, [email protected]) Pascale Willemsen (University of Zurich, [email protected]) * Joint first authors. Order of authors reflects contribution. Abstract In several recent papers and a monograph, Andreas Stokke argues that questions can be misleading, but that they cannot be lies. The aim of this paper is to show that ordinary speakers disagree. We show that ordinary speakers judge certain kinds of insincere questions to be lies, namely questions carrying a believed-false presupposition the speaker intends to convey. These judgements are robust and remain so when the participants are given the possibility of classifying the utterances as misleading or as deceiving. The judgements contrast with judgements participants give about cases of misleading or deceptive behaviour, and they pattern with judgements participants make about declarative lies. Finally, the possibility of lying with non-declaratives is not confined to questions: ordinary speakers also judge utterances of imperative, exclamative and optative sentences carrying believed-false presuppositions to be lies. 1. Introduction Questions are used to elicit information. But questions are also used to convey information. For example, if Harry wants to tell Rosa that John owns a Mercedes, he might use the following question: (1) Did you know that John owns a Mercedes? In uttering (1), Harry presupposes that John owns a Mercedes, and he intends to convey the content of this presupposition to Rosa.
    [Show full text]
  • English Song Booklet
    English Song Booklet SONG NUMBER SONG TITLE SINGER SONG NUMBER SONG TITLE SINGER 100002 1 & 1 BEYONCE 100003 10 SECONDS JAZMINE SULLIVAN 100007 18 INCHES LAUREN ALAINA 100008 19 AND CRAZY BOMSHEL 100012 2 IN THE MORNING 100013 2 REASONS TREY SONGZ,TI 100014 2 UNLIMITED NO LIMIT 100015 2012 IT AIN'T THE END JAY SEAN,NICKI MINAJ 100017 2012PRADA ENGLISH DJ 100018 21 GUNS GREEN DAY 100019 21 QUESTIONS 5 CENT 100021 21ST CENTURY BREAKDOWN GREEN DAY 100022 21ST CENTURY GIRL WILLOW SMITH 100023 22 (ORIGINAL) TAYLOR SWIFT 100027 25 MINUTES 100028 2PAC CALIFORNIA LOVE 100030 3 WAY LADY GAGA 100031 365 DAYS ZZ WARD 100033 3AM MATCHBOX 2 100035 4 MINUTES MADONNA,JUSTIN TIMBERLAKE 100034 4 MINUTES(LIVE) MADONNA 100036 4 MY TOWN LIL WAYNE,DRAKE 100037 40 DAYS BLESSTHEFALL 100038 455 ROCKET KATHY MATTEA 100039 4EVER THE VERONICAS 100040 4H55 (REMIX) LYNDA TRANG DAI 100043 4TH OF JULY KELIS 100042 4TH OF JULY BRIAN MCKNIGHT 100041 4TH OF JULY FIREWORKS KELIS 100044 5 O'CLOCK T PAIN 100046 50 WAYS TO SAY GOODBYE TRAIN 100045 50 WAYS TO SAY GOODBYE TRAIN 100047 6 FOOT 7 FOOT LIL WAYNE 100048 7 DAYS CRAIG DAVID 100049 7 THINGS MILEY CYRUS 100050 9 PIECE RICK ROSS,LIL WAYNE 100051 93 MILLION MILES JASON MRAZ 100052 A BABY CHANGES EVERYTHING FAITH HILL 100053 A BEAUTIFUL LIE 3 SECONDS TO MARS 100054 A DIFFERENT CORNER GEORGE MICHAEL 100055 A DIFFERENT SIDE OF ME ALLSTAR WEEKEND 100056 A FACE LIKE THAT PET SHOP BOYS 100057 A HOLLY JOLLY CHRISTMAS LADY ANTEBELLUM 500164 A KIND OF HUSH HERMAN'S HERMITS 500165 A KISS IS A TERRIBLE THING (TO WASTE) MEAT LOAF 500166 A KISS TO BUILD A DREAM ON LOUIS ARMSTRONG 100058 A KISS WITH A FIST FLORENCE 100059 A LIGHT THAT NEVER COMES LINKIN PARK 500167 A LITTLE BIT LONGER JONAS BROTHERS 500168 A LITTLE BIT ME, A LITTLE BIT YOU THE MONKEES 500170 A LITTLE BIT MORE DR.
    [Show full text]
  • Does the Lie Contradict the Truth?
    STUDIES IN LOGIC, GRAMMAR AND RHETORIC 20 (33) 2010 Urszula Wybraniec-Skardowska Group of Logic, Language and Information University of Opole, Poland DOES THE LIE CONTRADICT THE TRUTH? The most dangerous lies are truths but slightly distorted G. C. Lichtenberg Introduction Philosophers usually do not ‘philosophize’ in separation from an ideo- logy that is built into a political activity, which – in turn – is embedded in the given time and environment of their lives. The dignity of philosophy, and any other science, consists in an overall, undistorted constructing of an image of the reality, with the inclusion of the role of human being who learns about this reality, including that of a participant in the political life. In this context, we can say about reliable cognizance of reality. What is it? It is: • searching for the truth, • nearing the truth, and • discovering the truth. Without reference to the truth, acquiring the reliable knowledge about the world, as well as passing on such a knowledge in the process of lan- guage communication become mendacious, or even impossible. Righteous approaching the truth “opens the eye to injustice in the state and in the pri- vate life” – Plato wrote in his autobiographic Letter (VII 324 b), on the basis of his personal experience acquired in the course of his active political life. Arriving at the truth and convincing in favour of the truth, in various spheres of life, has been one of the most important principles of life and dealing in science. This classical, universal, moral virtue devalues through the following phenomena, which are omnipresent today: • widespread neglect of agreeing on the meaning of a word, • lack of responsibility for consequences of uttering words with no publicly-established meaning, • distorting the truth, • evident lies.
    [Show full text]
  • The Song of the Prairie Land 101 Pauline Johnson
    CONTENTS PAGE A TOAST TO BEAUTY 17 PRELUDE 18 TIrE CRY OF THE SONG CHILDREN 20 A SONG TO CANADA 24 A POET STOOD FORLORN 27 SONG OF THE SNOWSHOE TRAMP 34 ADVERSITY. 40 WHOM SHALL MY HEART CONDEMN? • 42 FIRST SONG WITHOUT A NAME 49 THE WHIP-POOR-WILL 51 TRAPPER ONE AND TRAPPER Two; OR, THE GHOST OF UNGAVA. 57 REED SONGS 69 A SONG OF BROTHERHOOD 74 BARBARY 78 To THE UNCROWNED KINGS 80 I FEEL NOR UNDERSTAND 83 AT THE PIANO 85 THE WAKING THOUGHT 87 OTUS AND RISMEL (A BALLADE OF THE LONG SEA LANES) PAG! THE SONG OF THE PRAIRIE LAND 101 PAULINE JOHNSON. 107 THE HAUNT OF A LoST LoVE. 108 AT THE FORD • 109 THE ROSE AND THE WILDFLOWER 112 SECOND SONG WITHOUT A NAME 116 BRITISH COLUMBIA. 117 A SONG TO THE SINGERS. 119 ALONE 120 A SONG OF BETTER UNDERSTANDING 121 THE MONGREL. 126 WHIST-WHEE 132 THIRD SONG WITHOUT A NAME. 134 THE CONVICT MARCH. 135 MARY MAHONE. 137 SAINT ELIAS 141 AT BROOKSIDE MANOR. 144 SOMEWHERE, SOMETIME THE GLORY. 146 FRANCE • 148 GIFTS 149 By HOWE SOUND 150 PEACE 152 6 Prelude PRELUDE wo jugs upon a table stood; 1 am Caneo; T One ample of girth and sweet of cavern, And my skin is brown from the comrade sun. But a shapeless bit of homely wood And my heart is a cluster of grapes; each one That .you would scorn in the poorest tavern; I ip and ready to flow together The other traced and interlaced In the channel sweet of a purple song.
    [Show full text]
  • Adventuring with Books: a Booklist for Pre-K-Grade 6. the NCTE Booklist
    DOCUMENT RESUME ED 311 453 CS 212 097 AUTHOR Jett-Simpson, Mary, Ed. TITLE Adventuring with Books: A Booklist for Pre-K-Grade 6. Ninth Edition. The NCTE Booklist Series. INSTITUTION National Council of Teachers of English, Urbana, Ill. REPORT NO ISBN-0-8141-0078-3 PUB DATE 89 NOTE 570p.; Prepared by the Committee on the Elementary School Booklist of the National Council of Teachers of English. For earlier edition, see ED 264 588. AVAILABLE FROMNational Council of Teachers of English, 1111 Kenyon Rd., Urbana, IL 61801 (Stock No. 00783-3020; $12.95 member, $16.50 nonmember). PUB TYPE Books (010) -- Reference Materials - Bibliographies (131) EDRS PRICE MF02/PC23 Plus Postage. DESCRIPTORS Annotated Bibliographies; Art; Athletics; Biographies; *Books; *Childress Literature; Elementary Education; Fantasy; Fiction; Nonfiction; Poetry; Preschool Education; *Reading Materials; Recreational Reading; Sciences; Social Studies IDENTIFIERS Historical Fiction; *Trade Books ABSTRACT Intended to provide teachers with a list of recently published books recommended for children, this annotated booklist cites titles of children's trade books selected for their literary and artistic quality. The annotations in the booklist include a critical statement about each book as well as a brief description of the content, and--where appropriate--information about quality and composition of illustrations. Some 1,800 titles are included in this publication; they were selected from approximately 8,000 children's books published in the United States between 1985 and 1989 and are divided into the following categories: (1) books for babies and toddlers, (2) basic concept books, (3) wordless picture books, (4) language and reading, (5) poetry. (6) classics, (7) traditional literature, (8) fantasy,(9) science fiction, (10) contemporary realistic fiction, (11) historical fiction, (12) biography, (13) social studies, (14) science and mathematics, (15) fine arts, (16) crafts and hobbies, (17) sports and games, and (18) holidays.
    [Show full text]
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
    [Show full text]
  • Exemplar Texts for Grades
    COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects _____ Appendix B: Text Exemplars and Sample Performance Tasks OREGON COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Exemplars of Reading Text Complexity, Quality, and Range & Sample Performance Tasks Related to Core Standards Selecting Text Exemplars The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that students should encounter in the text types required by the Standards. The choices should serve as useful guideposts in helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do not represent a partial or complete reading list. The process of text selection was guided by the following criteria: Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on qualitative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group began by soliciting contributions from teachers, educational leaders, and researchers who have experience working with students in the grades for which the texts have been selected. These contributors were asked to recommend texts that they or their colleagues have used successfully with students in a given grade band. The work group made final selections based in part on whether qualitative and quantitative measures indicated that the recommended texts were of sufficient complexity for the grade band.
    [Show full text]