TABLE OF CONTENTS
Appendix A Course Information
Appendix B Text Genres
Appendix C Indigenous Education Documents
Appendix D Reading, Oral and Writing Strategies and Resources
Appendix E Key Terms and Research Information
Appendix F Rubrics and Matrices
Appendix G Glossary
APPENDIX A
Genres and Resources – Composition 10 Below is a list of possible genres that you could explore in Language Adapted Composition 10. This is not an exhaustive list.
Genre Sample Writing Topics Memoir/Biography Write about a time in your life when you faced an internal struggle similar to (character’s name) to record chronologically a
series of past personal events Write about an incident in your life that relates to the theme suggested in order to entertain, and to in this piece of fiction
form and build relationships Describe the most embarrassing moment in your life using a humorous / with the text, with the teacher, satirical / sympathetic / suspenseful tone and with peers Narrative Missing Page’ narrative writing assignment Write a short story with a focus on characterization, tone, setting and to entertain to instruct the reader (or listener) about atmosphere, or theme
cultural values to explore and Re-write the resolution of a short story / novel
engage in universal themes Write and illustrate an escapist short story for a grade 4 audience Write an interpretive short story based on events in your life Turn a poem / piece of music / piece of art into narrative writing Descriptive Describe the setting of a poem, short story or novel Write a detailed character description to create a vivid impression of a
person, place, object or event Write a descriptive passage based off of an image or piece of artwork
Write a poem rich with descriptive details
Persuasive Write a factual, compelling argument about a particular topic or issues Use persuasive techniques to create marketing materials for a new to create an argument that supports a particular stand or product or company
viewpoint that the author is Write a letter to the editor arguing for ______
taking Write a letter to a character encouraging them to pursue a different course of action than the plot goes in
Expository Write a newspaper article based on a text or current event issue Write a how-to guide for ______ to inform, explain, describe or
define an idea to the reader Analysis a particular issue for causes
Genres and Resources – Creative Writing 10 Below is a list of possible genres that you could explore in Language Adapted Creative Writing 10 as well as resources that could help teachers get started. This is not an exhaustive list.
Genres/Topics: Poetry Drama Songs Graphic Novels Creative Non-Fiction Screenplays/writing Narrative Memoir
Resources: Writing 44 https://nanowrimo.org/ (https://docs.google.com/document/d/1Om2BlZzBUw2X96lEVJG0Zgm4xa7t86X3- 8hwtt4CARI/edit# ) ( https://nanowrimo.org/forums ) https://www.scribendi.com/advice/best_writing_websites.en.html https://www.empoweringells.com/readalouds/ https://www.empoweringells.com/mentor-texts/ Lessons from Screenplay (YouTube channel) DLRC Graphic Novel Sets
Genres and Resources – Literary Studies Below is a list of possible genres that you could explore in Language Adapted Literary Studies 10. This is not an exhaustive list.
Genre Sample Writing Topics Personal Response Do you empathize with Teresa as she describes her struggle and addiction to alcohol in Degrassi Talks... Alcohol ? to respond personally to a Do you sympathize with Boo Radley when he feels compelled to defend piece of text Jem through an act of murder? can vary in formality from Could you be on the cover of your favourite magazine? Why or why not? highly spoken and personal to Who do you blame for Romeo and Juliet’s deaths? more academic (specialized literary terms and devices, etc.
Review Write a standard review of any piece of text Write a review of this novel / short story targeted to a teenage to assess the appeal and value audience. of a literary text by providing a Review the movie version of a literary work from the perspective of the summary, evaluation, opinion original author of that work. and overall recommendation about that text
Critical Response Jem’s reaction at the close of Tom Robinson’s trial is a justifiable reaction to racial injustice. Agree or disagree. to critique a literary text by Does Baz Luhrmann’s (DiCarpio) version of Romeo and Juliet capture the analyzing and making mood of the original Shakespearean tragedy? transparent the cultural values Why is allegory useful / necessary for George Orwell to describe real of the work, providing evidence people in his 1945 Animal Farm ? to support the challenges the response makes
Interpretation Complete a poetry analysis. to interpret the meaning, What literary device is used predominantly throughout this text and message or purpose of a what effect does it have on the overall story / reader? literary text, using evidence Who is the intended audience of this article? Support your answer with from the text references to the text. How does the author create a sympathetic mood in the readers for the character of Emily Strorm? Do our experiences shape who we are? Should music education be compulsory?
Genres and Resources – New Media 10 These resources are designed to help teachers get started in accessing resources for Language Adapted New Media 10. This is not an exhaustive list.
New Media is a rapidly evolving field. As a result, the language and structural features of different genres are not as entrenched as in traditional English texts. What may be frequently used now, may lose popularity in a short period of time. Teachers are encouraged to examine different genres within New Media including blogs, vlogs, podcasts, e-zines and social media stories with students to determine the language and structural features relevant to the teaching context.
Blogs: https://firstsiteguide.com/characteristics-of-blog/ http://www.teachhub.com/beginners-guide-student-blogging Connect with the District Technology Team
Film: Ran – directed by Akira Kurosawa The Artist – directed by Michel Hazanavicius
Oral storytelling: https://www.nfb.ca/indigenous- cinema/?&film_lang=en&sort=year:desc,title&year=1917..2019 https://watch.cbc.ca/category/everything-indigenous/featured-all/fc9505b4-0cb5-4a16-aadf- 863654041afb https://storycorps.org/
Podcasts: Serial This American Life https://www.weareteachers.com/best-podcasts-for-kids/ Social media: https://sociallysorted.com.au/social-media-stories-story-format/ https://www.raconteur.net/hr/social-media-biases https://www.daytranslations.com/blog/wp-content/uploads/2018/02/general- abbreviations.jpg
Youtube: Please be mindful of having students create YouTube channels as this could be a Freedom of Information and Protection of Privacy Act (FOIPPA). Encourage students to share and examine YouTube channels that are popular in their home language and culture. Lessons from a Screenplay Crash Course Fung Brothers (review before showing students for appropriate language)
Podcasts There are, strictly speaking, five podcast types.
1. The Solo Podcast This might be the podcast you started off with. Basically, you and the listener, chatting away, sharing your thoughts on whatever your podcast topic might be. These days, the solo podcast is limited to very particular niches. For instance, you might be a comedian or a musician. The solo podcast, therefore, is ideal for you to share your unique slant on the world. While it might seem like an easy solution (and it is when it comes to production), the solo podcast isn’t for everyone. If you’re unsure of your point of view on a subject, for instance, then you might find yourself drying up (that is, running out of things to say, or losing your thread). It’s a good idea, therefore, to have a plan: a format. For a solo show, that might be:
Introduction Topic A Transition Topic B Etc. Summary Outro When it comes to production, all you need to do is grab a microphone, find an audio recording app, hit record, and start talking. This is possible on virtually any device, which means you could conceivably publish podcasts on a daily basis (although this is perhaps too regular in most cases).
2. The Podcast Interview Talking to yourself on a weekly basis can be dull. Even if you liven things up with radio show- style sound effects, just chatting on and on, even with a plan, can prove somewhat limiting. But if you’re talking on a specialist topic, it’s always a good idea to get input from a fellow expert. To begin with, it gives the audience another voice to listen to. You might well have silky tones that rival Morgan Freeman himself, but there should always be room for someone else. How do you bring a guest into the podcast? Several options are available:
Telephone — Record the interview on your smartphone using a call recording app. You’ll need to sync the data to your computer for editing (unless you have the tools to edit and upload on your phone). Skype — If you don’t have a smartphone, you can use Skype on your desktop to call other Skype accounts and telephones. With a Skype call recording tool, the audio will be captured and you’ll be able to package it into your podcast later. One-on-One — The final option is to make sure you can get a microphone under the nose of the person you’re interviewing. This may require you to spend money on additional hardware, but the end results should be good. Just remember to check the sound levels before recording commences. The format for a podcast interview would look something like this:
Introduction Introduce guest Discussion Summary Outro Clearly, an interview scenario has greater time overheads than a solo podcast. It can also require more software, sound hardware, or both. However, the results can be superb.
3. The Multi-Host Show For a more varied collection of voices and opinions on a regular basis, the multi-host show is the way to go. Indeed, many podcasters use this option to start with. After all, if you dry up, there’s always someone else available to take up the slack. Execution of a multi-host show can be tricky, however. You basically have two options: online (which means embracing Skype, Google Hangouts, or another VOIP option), while recording the call (preferably at both ends, just in case one of the recordings fails), and offline. The latter can potentially have a travel overhead for one or more hosts, however. You should also consider transportation of hardware: multiple microphones and a mixer for your laptop or tablet will be required. Many podcasts use the multi-host format, it’s especially useful if one of the hosts must take a timeout. Typically, a multi-host podcast format follows this structure:
Introduction Catch-up Topic A Transition (optional as conversation may move organically) Topic B Etc. Summary Outro As a podcaster with 10 years of experience, I’ve found that the multi-host format works well. It’s also possible to combine it with the previous format, and have one or more guests to interview in the show.
4. The Round Table A variation of the above two formats, this is an approach whereby a single host introduces three or more (perhaps as many as ten) semi-regular guests to discuss a topic. Commonly found in technology and gaming podcasts (as well as those looking at politics), round tables are typically longer than a standard podcast (perhaps two or three times as long). This is usually because of the range of opinions, so it can help to keep the focus of the podcast quite narrow if you want to keep the duration to manageable levels. After all, you need to consider whether your audience will have time for the whole thing! Like multi-host shows, round table podcasts will need to be conducted via your preferred VOIP solution, or in person. Organizing a round table podcast can be time-consuming; however, the format makes it suitable for a live broadcast via Facebook or Google Hangouts/YouTube, in addition to audio-only live broadcasts. In fact, you could even invite a live studio audience! A round table podcast format would typically run as follows:
Introductions and profiles of each guest Topic discussion Audience questions Summary Outro
5. The Audio Magazine The final format for a podcast is an eclectic mix of news, interviews, discussions, and perhaps a few gags. It might have a single host or multiple hosts — it’s up to you. As most podcasts undergo post-production (that is, editing and mixing), having an audio magazine approach means you can collate your content over the course of a week, edit it together with some links, and publish. All this approach really needs is you and a microphone. If you want to chat to someone remote, you can either hop on a train or Skype them, then record the conversation. All the audio should be synced to your computer, edited together, and published. For one-man podcasts, this is a great way to bounce the format — it’s basically a ready-made pivot!
Here’s how an audio magazine podcast format might look:
Introduction and rundown of features Feature 1 Feature 2 Etc Listener emails/social network comments Summary Outro Listener feedback is always important for podcasts, but in a show where you might be accused of being low on content, it is particularly useful to involve the audience.
Excerpt from: https://www.makeuseof.com/tag/popular-podcast-formats/
Blogs:
Creating a great blog post isn’t difficult. Following a basic structure formula that gives your posts great “bone structure” will give you the ability to drape them with creative style, solid information and compelling resources.
Craft a great headline Include an active verb and try to squeeze some of your key topic words in as well. The search engines love the headlines and a strong headline will not only attract Google, but will also compel your visitors and regular readers to read on. Here are some dos and don’ts.
Write a compelling lead Provided your readers hang around to see what the headline is all about, a compelling lede will keep them reading. Establish what the post will cover, of course, but also flex your best writing muscle and write something people want to read.
Start with bullet points Use bullets to get your ideas in an outline form. If you’re writing a list post, keep your bullets as your core structure. If you’re not, use your bullets to develop sub-heads.
Develop sub-headlines Sub-heads help create a scanable page and make it easier for people to read on a computer screen and digest the information. (pssst—Google loves sub-heads, too). Note: Now is also a great time to ask your friends on Twitter what they think. Chances are you’ll get some great feedback that will mean a strong post in the end.
Fill in the detail Flesh out your bullet points and/or sub-heads to really bring the point home. Keep yourself on track (rambling is way too easy to do, especially if you feel passionately about something) and keep your readers in mind.
Find a great image I recommend Flickr. Under the “advanced search” link, check the creative commons button and make sure you credit the photographer. If you want to go with stock photography, istockphoto.com is low cost and has the best selection. Stock Xchange is free and you can usually find something decent.
Double-check your headline Now that the post is complete, make sure your headline still reflects what your post is about and gets a reader’s attention. Can you refine it to be even stronger and more effective?
Edit, proof, correct, polish, and revise Errors in grammar can kill a blogger’s credibility and traffic. Take time to make sure you’re putting out your best work. There’s a certain immediacy to blogging, and a stray comma or run on sentence doesn’t typically have dramatic consequences. But avoid the five grammar errors that make you look dumb.
By Kelli Matthews from: https://articles.bplans.com/create-great-blog-posts-have-a-solid- structure/
From: http://loc.gov/folklife/familyfolklife/oralhistory.html#tips
Interviewing Tips
There are many publications that outline the techniques and principles of oral history work. The following tips about interviewing —the central technique concerned with recording oral history interviews —may serve as a helpful and concise summary.
1. Prepare for the interview by finding out about your interviewee, researching your topic or topics, testing your equipment, and organizing the questions that will help you plan what you want to cover during the interview. Herman Williams teaching his grandson, Nicolas, how to crack 2. Clearly and accurately explain to your interviewee who you black walnuts. Photo by Lyntha Scott Eiler, October 26, 1995. are, why you want to do the interview, and what will happen From the online presentation Tending the to the information you collect from that person. Commons: Folklife and Landscape in Southern West Virginia .
3. Be yourself. Don’t pretend to know more about something than you do know.
4. Never record secretly.
5. Before you start recording, try to find a location that’s conducive to producing a clear recording. For example, if the recording session is taking place at the interviewee’s home, choose a room that is farther away from the street to cut down on noise created by traffic.
6. At the start of the recording, make a brief opening announcement that specifies date and place of the interview, names of the interviewer and interviewee, and the general topic of the interview. For example:
Today is Thursday, September 18, 2008, and this is the start of an interview with Fred Johnson at his home at 601 McKinley Avenue, N.E., in Washington, DC. My name is Donna Johnson and I’ll be the interviewer. I’m Fred’s granddaughter and this interview is being done in connection with the history of the Johnson family. We’ll mainly be talking about my grandfather’s recollection of the family homestead in Litchfield, Connecticut.
This is very useful information that can be used to identify the basic circumstances of the interview later on. From: http://loc.gov/folklife/familyfolklife/oralhistory.html#tips
7. Keep the audio recorder or video camera running throughout the interview. Don’t turn the machine on and off except when asked to do so or when an interruption requires it.
8. During the interview, encourage your interviewee by paying attention. Keep any time spent looking at a list of questions or adjusting the recording equipment to a minimum.
9. As a rule, keep your questions short. Avoid complicated multi-part questions.
10. Never ask a question you don’t understand.
11. Try to avoid asking questions that can be answered with a “yes”or a “no.”
12. Don’t ask leading questions that suggest answers. For example, instead of asking “Wasn’t Litchfield a great town to grow up in during the 1940s?,”ask: “How would you describe Litchfield as a place to grow up in during the 1940s?”
13. Try to keep your opinions out of the interview.
14. Don’t begin the interview with questions about controversial subjects.
15. Don’t interrupt your interviewee’s answers. Use non-verbal communication (eye-contact and nodding) to encourage him or her.
16. Use follow-up questions to elicit more detailed information. Useful follow-up questions include: When did that happen? Did that happen to you? What did you think about that? What are the steps in doing that? Can you give me an example of that? What happened next?
17. Be prepared to let your interviewee take the discussion off in different directions. This can sometimes lead to unexpected and exciting discoveries.
18. Make the recording as complete and accurate a record of the interview as you can. If you are using only an audio recorder, remember that it has no visual aspect. Therefore, if the interviewee makes a significant gesture —holds his hands apart and says, “It was about this long,”for example —be sure to follow up with a question that allows the information to be captured on the recording verbally: “So, was it about two feet long?”
19. Consider using photographs, maps, and other materials to elicit information during the interview.
20. Keep your interviews to a reasonable length. A typical length for an interview is between one and one and a half hours. It is the interviewer’s responsibility to determine if the interview should be concluded because the interviewee is becoming fatigued or for any other reason. From: http://loc.gov/folklife/familyfolklife/oralhistory.html#tips
21. Put a brief closing announcement on the tape at the end of the interview. For example:
This is the end of the September 18, 2008, interview with Fred Johnson. The interviewer was Donna Johnson.
22. Carefully save the recording so it can be retrieved later on. This may involve placing a copy of a digital recording on a hard drive and giving it an accession number that will allow it to be readily identified out of the other interviews made during the project.
23. Use a release form. As mentioned earlier, this will clearly establish that the interviewee has agreed to take part in the interview and allow the recording used in accordance with the stated goals of the project.
24. Carefully review the recording of the interview later on in order to analyze the data, prepare for future interviews, and improve your interviewing technique.
Film Review
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. ) 0 + f . % ' $ . 0 ' . ' * % ' ' . ! $ $ " % & & ' + Genres and Resources – Spoken Language 10 Below is a list of possible genres that you could explore in Language Adapted Spoken Language 10 as well as resources that could help teachers get started. This is not an exhaustive list.
Genres: Interview Debate Presentation - Informative or Persuasive (speeches) Role-Playing Formal and informal discussions Spoken Word Poetry Storytelling
Resources: Oral Storytelling: https://www.nfb.ca/indigenous-cinema/?&film_lang=en&sort=year:desc,title&year=1917..2019 https://watch.cbc.ca/category/everything-indigenous/featured-all/fc9505b4-0cb5-4a16-aadf- 863654041afb https://indigenousfoundations.arts.ubc.ca/oral_traditions/ https://storycorps.org/ https://newsela.com/read/BHP-U7-8-recordkeeping/id/3828/ (Turning memories into stories) Connect with Indigenous Staff Development Team to obtain “First People’s Oral Traditions” unit guide from English First People’s Grade 10-12 Resource Guide 2018 (pages 75-84). Also consider asking an Elder to come and share with the class.
Interviews: https://storycorps.org/participate/great-questions/
Presentations: PechaKucha https://www.teachhub.com/5-creative-speech-teaching-strategies-drama
Spoken Word: If I should have a daughter – Sarah Kay (Ted Talk on YouTube)
Formal Debating in the Oxford Style
The following debate structure requires 1 hour of presentation time in addition to some time in advance for preparation and research (1 class + homework). Times will vary for larger debate teams and for less structured formats. Organizing a debate involves the following 6 stages :
1. Defining the resolution or debate topic:
Debates should be linked to current topics of discussion in the class, or should be based on texts that have been studied within the course curriculum. The teacher may define the resolution topics to be debated, may suggest 6 topics that students can vote on, or may assign small groups that will come up with 1 or 2 debate resolutions, and then the whole group reviews the choices and selects the best debate topics. For 24 students, the class should generate 3 or 4 topics to debate (while one group of 8 is debating, the other students will serve as the audience, and the process will rotate until all students have debated) Debate resolutions should be stated in the following manner:
“Be it resolved that ______.” “Be it resolved that Louis Riel is a Canadian hero.” “Be it resolved that the Canadian government should institute a death penalty.” “Be it resolved that Canada should increase tariffs to the United States.”
Debate resolutions should be arguable, worthy, supportable / defendable topics, and should lend themselves a clear ‘Yes’ and ‘No’ perspective.
2. Setting up debate teams:
Split the class into groups of 8 or 10 (even numbers work best so that each team has a fair number to speakers to debate). Assign one debate topic to each group of 8 or 10. Students like to draw from a hat so that ‘difficult’ or ‘fun’ topics are assigned randomly. Have students sit together and randomly discuss the topic they have in front of them, sharing personal opinions and feelings, and just getting a “feel” for the arguments. After 6-8 minutes of general discussion, the teacher hands out slips of paper to the members of each of the three groups. In advance, the teacher will have written “AFFIRMATIVE” on 4 or 5 slips of paper, and “NEGATIVE” on the other 4 or 5 slips (again, students can pick from a hat). Students from the original group of 8 or 10 are now split up into an Affirmative Team and a Negative Team to deal with the debate resolution at hand, and these two teams should be split up and sit far away from each other as they prepare their arguments. Students may argue regarding the ‘side’ of the debate they end up on, but the teacher should explain the ‘art of debating’, which is to expose arguments on BOTH sides of a topic, and that students are representing an angle of a debate and not necessarily their own views.
3. Team preparation for the debate:
Each debate team of 4 or 5 should immediately pick a) an opening speaker and team leader, and b) a closing speaker. Explain to the class that these roles are leadership roles, and require strong verbal skills. Hand out the attached worksheet that will guide students in the preparation of their arguments and support. The teacher should circulate and help students, particularly in the articulation and vocabulary of their individual points. The teacher should ensure that students have concrete evidence to attach to their argument (could be a statistic, a case study or real life example, a reference from an authority on the subject, etc.) Often students have a hard time distinguishing between their argument and the support for that argument. Remind each group that they should spend some time as a group predicting opposing arguments so they can anticipate the rebuttal that they might use.
4. Explicitly teaching authentic debate language:
The language of debating is predictable, formal, and structured, and therefore should be taught explicitly. Refer to the following table for suggestions, and introduce more formalized language as students are preparing their speeches.
Stages of the Debate: Effective Language Suggestions: Addressing judge, - Good morning / afternoon honourable judge(s), worthy opponents and guests. audience, - Ladies and Gentlemen… - Opposing team… opposing team - To my opposition… Opening your - As an affirmative / negative speaker I strongly believe that… speech - In support of my team’s resolution, I reinforce that… - To begin, I assert that… - Without a doubt I can state that… - In my speech I will prove to you, Ladies and Gentlemen, that… Throughout your Use effective transition words to move your argument along and to help the audience speech follow the development of your argument… furthermore, in addition, also, to continue, etc I repeat, clearly, certainly, without a doubt, undoubtedly, etc. therefore, finally, as you can see, as I have shown / proven / illustrated, in conclusion, ultimately, to end, etc. To end your - Thank you Ladies and Gentlemen for your attention. speech - Therefore Ladies and Gentlemen, the resolution before us today, Be it resolved that ______must fall. - I am grateful for your attention in hearing my arguments. - I hope I have provided the audience with strong reason to support my team’s resolution. Thank you for listening. - Thank you for listening. Now I stand open for cross examination. When rebutting - I would like to rebut my opponent’s point that… your opponent - I would like to refute the last point of the opposing team that… - In cross examination, the speaker of the affirmative / negative team contradicted him/herself with the point that… - Before continuing with the next point of the affirmative / negative team, I would like to challenge the last speak about his/her point that… To ask a question - I would like to address this question to the 2 nd Speaker of the Affirmative from the audience Team. Could you clarify what you meant by… - I did not understand the Affirmative / Negative Team’s point about … Could one of the speakers please repeat the point? - I don’t believe there was any support for the 3 rd argument of the Negative Team. Is that correct? - I feel that the evidence presented by the Affirmative / Negative Team about ______is incomplete / flawed / misrepresented. Could one of the speakers please address this? Make note of new vocabulary here:
5. Structuring the debate:
Speaking Order: Job: Time:
Affirmative Speaker #1 Introduction of Affirmative Team and statement of the resolution 1 min. First argument of the Affirmative Team 3 min.
Negative Speaker #1 Rebuttal of Affirmative Speaker #1 2 min. Introduction of Negative Team and re-statement of the resolution 1 min. First argument of the Negative Team 3 min.
Affirmative Speaker #2 Rebuttal of Negative Speaker #1 2 min Second argument of the Affirmative Team 3 min.
Negative Speaker #2 Rebuttal of Affirmative Speaker #2 2 min Second argument of the Negative Team 3 min.
Affirmative Speaker #3 Rebuttal of Negative Speaker #2 2 min Third argument of the Affirmative Team 3 min.
Negative Speaker #3 Rebuttal of Affirmative Speaker #3 2 min Third argument of the Negative Team 3 min.
Affirmative Speaker #4 Rebuttal of Negative Speaker #3 2 min Last argument of the Affirmative Team 3 min. Closing Statement of the Affirmative Team 2 min
Negative Speaker #4 Rebuttal of Affirmative Speaker #4 2 min Last argument of the Negative Team 3 min.
Affirmative Speaker #1 Rebuttal of Negative Speaker #4 2 min
Negative Speaker #4 Rebuttal of Affirmative Speaker #3 2 min Closing Statement of the Negative Team 2 min.
Open Discussion from audience / guests 10 min. Voting ballots completed silently and submitted 2 min.
Judge counts ballots, announces winner and congratulates all participants.
Total time: 1 hour
APPENDIX B
The Teaching Learning Cycle
Language learning is not linear. It occurs as a cycle of activities that are repeated and elaborated on as students move through the education system. The graphic below identifies key stages that require explicit instruction in order for ELL students to master academic writing tasks.
Building background knowledge of content/subject
Developing Text Control of deconstruction Independent the genre construction of text
Joint construction of text
Adapted from Languge and Literacy: classroom applications of functional grammar. The State of South Australia, Department of Education and Children's Services, 2004
Building Background Knowledge This stage involves discussions and activities, which will familiarize students with the subject-specific or cultural knowledge that is necessary to complete the writing task successfully. ELL learners, even at advanced levels, have many gaps in background knowledge that is assumed for secondary English speaking students. Consider the following report of a cricket match from the Sydney Morning Herald:
Captain Simon Katich was the only NSW batsman to stop the rampaging Western Australian pace attack at the WACA Ground yesterday - if you don't count Beau Casson and Matthew Nicholson as batsmen, that is. Katich scored a half-century as the Blues recovered to be 9-238 at stumps on day one of the Pura Cup match. Casson (51) and Nicholson (85 not out) retrieved an innings that was in dire trouble at 7-89 upon Katich's dismissal to guide the Blues to 7-182 before Casson was bowled by Ben Edmondson. Edmondson was the pick of the bowlers with 3-70. Brett Dorey and Steve Magoffin picked up two wickets each. David Bandy snared the key wicket of Katich. Katich collected 50 before he skied a catch to Adam Voges at mid-wicket. The visitors were 5-52 at lunch and were further in the mire when Daniel Smith was caught behind after chasing a wide ball from Edmondson. At one stage Katich struck six fours in 11 balls. Most Canadian educators, even those with extensive coursework in English literacy, will encounter comprehension difficulties with this text. However, most twelve year old Australian students could easily make sense of what has been written. The barrier is not just new vocabulary terms. Australian teachers would be just as baffled by a Canadian sports report of Game 7 of the Stanley Cup Finals. This example points to the need to ensure that students understand the context of assigned language activities.
Text Deconstruction (modelling)
Here the teacher structures activities that make clear the purpose, text organization and language features of each genre. This stage is especially important for ELL students who may have had little opportunity to view completed samples of academic text. Imagine that you have been invited to a wonderful party but all you know about the location is that it is in Burnaby. You may eventually get to the party but it will be long after the other guests have left. How much simpler it would be for you to reach your destination if you have the complete address and a map to guide you. Model teaching texts that emphasize key elements of organization and language features serve to guide second language learners to their destination.
Joint Construction of Text
Joint construction is the process whereby the teacher and students work together to construct a text. These activities provide a scaffold for students to focus on essential elements of the genre under study.
Independent Construction of Text
After sufficient exposure to sample text passages and opportunities to jointly construct examples of the target genre, students are assigned writing tasks to be completed without the assistance of the teacher or other students. At this point, the teacher may conclude that students have demonstrated adequate mastery of a particular genre and introduce another genre of academic writing, or he/she may feel that it is necessary to include more modelling and joint negotiation activities to further develop students’ writing abilities. The steps for building background knowledge and independent construction of text are those that will be most familiar to teachers of English language arts. The content focus and topics for independent assignments will be unique to each classroom. For these reasons, the intent of this document is to support the integration of explicit modeling and joint negotiation strategies .
Teaching the Writing Genres
The concept of teaching writing in GENRES is based on the following principles:
Academic language differs dramatically from non-academic, informal everyday language.
Everyday, informal, conversational language and academic, formal and highly technical language are the two extremes of a long language continuum .
Many levels of language exist at various points along the continuum, each level existing with its own purpose , target audience and language features .
Language Continuum:
X X X X X X X X Everyday language used More formal language used Highly formal language used between friends, between individuals who are not between experts within acquaintances, relatives, well-acquainted, do not share a specialized / technical fields that etc. to exchange greetings, common social context and who seek to analyze, reflect on, make requests, share have different levels of power / evaluate and research stories and experiences authority, discussing more phenomena. This type of within mutually familiar specialized topics. E.g.: A patient language is devoid of personal social contexts. discussing health concerns with a emotion and is based rather on doctor, a consumer making a evidence, research and complaint with a manager, an observation. It is a level of
employer reviewing performance language acquired through with an employee. academic study rather than through immersion / experience, and is highly patterned, predictable and structured.
Successful native English language users are able to distinguish and effectively use a wide variety of language structures (from informal to highly formal and academic) to meet the needs of whatever context they are working within. This ability evolves as the language users engage in a wide variety of complex language situations over the duration of many years as native English speakers. For ELL students , while everyday language is acquired more easily through contact and immersion with the target language environment, academic language must be taught explicitly ; teachers cannot expect students to simply “pick-up” academic language over time. Academic language is extremely predictable and is organized in very specific ways, creating recognizable patterns that can be taught explicitly . Success in secondary school requires that students are able to both recognize and use the basic , most common genres of writing in education
Examples of the Language Continuum
Everyday language Increasingly formal language Highly formal language used to discuss more specialized used in mutually familiar topics between people of varying used between experts within social contexts. degrees of power specialized / technical fields X X X
“it’s supposed to mean war” “represents war” “metaphor for war” “my tummy hurts” “stomach pain” “gastric neurasthenia” “my little finger is sore” “painful contraction of the finger” “dactylocampsodynia” “cloudy sky” “overcast” “increase in cloud condensation nuclei”
“That main guy in the “The main character has a person to “A dynamic transformation in book starts off screaming person struggle with his brother the protagonist is exemplified at his brother and the kid because he doesn’t understand that by the resolution of an internal runs away ‘cause he his brother is trying to protect him struggle to contextualize can’t handle it anymore.” and keep the family together.” a brother’s overprotective nature that resembles control and oppression at the onset of The Outsiders .”
“The words at the end of “The poem contains iambic “Regular end rhyme and the use the line rhyme and when pentameter and has an abab of iambic pentameter allows the the poet is speaking it rhyming pattern that the poet speaker of the poem to echo kind of makes a pattern uses to talk about love. This the beauty of his subject matter, because all the lines are poem is a lyric poem.” love, with a harmonious the same length. This lyric form.” makes the poem look like a song.”
Questions for consideration and discussion: 1. Who might the speakers be of each of these quotations? 2. Who is the likely audience of each of these quotations? 3. Can you identify a general trend in the choice of language from left to right? 4. Can you identify a general trend in the sentence structure from left to right? 5. Practice creating examples of your own that move you back and forth on the language continuum. Most Common Genres in Education: GENRE PURPOSE Story Narrative and To entertain as well as to instruct the reader or listener about cultural values. Genres traditional stories such as fables and myths Personal recount To record chronologically a series of past personal events in order to entertain , and to form and build on relationships . Factual Description To describe some of the features of particular people, places or Genres things. This can lead to the ‘Appearance’ stage of description reports, for example.
Information Report To provide accurate and relevant information about our living and non-living world. Reports can often include visual texts, and answer the questions: What kinds? and What about? Practical report To provide a recount of the method undertaken in a procedure, as well as to reveal the results and conclusions. most Recount To relate chronologically a series of past events in order to inform. common factual These events may also concern an individual other than the writer (biographical recounts); or may be about events that occurred in a genres biographical specific historical period (historical recounts). used in historical English Historical account To account for why events occurred during a particular time in history. This builds on a historical recount by providing the causes for events. Explanation To explain how and why processes occur in our social and physical sequential worlds. Sequential explanations connect the events in a process chronologically. Causal explanations not only connect the events in a causal process chronologically, but do so causally as well. Expository genres To present arguments on an issue. Arguments attempt to persuade arguments the reader / listener to agree with a particular point of view and to take some action. Discussions present the case for more than one discussions point of view about an issue. Procedure To instruct someone to make or do things. Response Personal response To respond personally to a culturally significant work. genres Review To assess the appeal and value of a literary work, providing some information about that work and an evaluation . Interpretation To interpret what a literary work is trying to say , providing evidence from that work to support that interpretation. Critical response To critique a culturally significant work by analyzing and making transparent the cultural values of the work , providing evidence to support the challenges the response makes.
Adapted from: Language and Literacy, Classroom Applications of Functional Grammar . Authors: John Polias and Brian Dare , Publisher: Department of Education and Children’s Services, Government of South Australia. Each type of Writing Genre must be considered for its: 1. Organizational Structure How the text is organized; how information is staged and presented 2. Language Features The level of “technicality” used; the ordering of ideas within the sentence. The Writing Genres in this Document
The following writing genres have been analyzed in this document and are provided in the following pages for use as writing models. It is not expected to teach to all of these genres. They are provided here as prompts and options.
Critical Response Descriptive Expository Interpretation Memoir/Biography Narrative Personal Response Persuasive Review
How to use these writing models:
1. Consider the PURPOSE of each writing genre
2. Choose the writing genre and purpose that best fits a. the content the class is working within and/or b. the assigned writing topic.
3. Explicitly introduce the writing genre and the purpose of that genre
It is important for ELL students to explicitly link the topic + genre + purpose for every writing assignment.
4. Use the Text Analyses , with the Joint Construction and the Modeling strategies to teach the target writing genre.
5. Assign the writing topic and give students authentic practice writing in the target genre taking into consideration the
purpose organizational structure language features
English Language Learners need explicit instruction and regular, structured, and frequent opportunities to practice writing within these academic genres. Critical Response
Organizational Language Structure: Where does the “soul” of a word really come from? Features: introduction Gloria Naylor, in her essay, “Mommy, what does the extensive use of to the topic n” word mean?” says that culture and language are closely verbal and or issue related and that words mean different things to people of mental processes unlike cultures. (in present tense) 1st point One word seems to drift between the lines and words of her piece: ambiguous. She implies that even though language is universal, not everyone will perceive words the support / same way. Naylor is able to get this point across effectively evidence by referencing the black population in New York when she modality from text was growing up. She tells us that they used the “n” word in critical / many different contexts. If a small sample group already logical has so many different perceptions of one word, then how evaluation different would the meaning of that word become in an summary even larger population? Clearly , the reaction of another series of sentence group in another context may be dramatically changed. key points 2nd point Deeper in her essay, Naylor also expresses that a word from the itself holds no power; rather, the person who hears the word text + support / gives it power. She shows this by referring her first support evidence encounter with the “n” word. Even though Naylor did not critical tone and from text know what the word meant, she understood it was an insult. evaluation The tone of voice and the harsh manner used by the speaker critical / quickly put her on guard. But if the word was spoken in a logical softer way, would she still have reacted in the same way? judgement
evaluation It was her who gave the word its insulting capabilities, not words the word itself. Naylor verifies this point again with her example of the black population of New York who used the “n” word, but transformed it into something that signified the, direct quotations “ varied and complex human beings they knew themselves incorporated to be,” and that, “by meeting the word head-on, they in writing proved it had nothing to do with the way they were determined to live.” So , the “n” word is not always an attack. Naylor’s writing points out that words undergo stereotypes just as rhetorical summary people do, but in reality, words can have just about any conjunction evaluation meaning people want them to have, or agree they will have. Gloria Naylor’s fact is clear that words are hollow but that abstract how they are interpreted is what gives them “soul”. references Adapted from an essay by: Nico Ho, grade 10, Cariboo Hill Critical Response
Organizational Language Structure: Where does the “soul” of a word really come from? Features:
Gloria Naylor, in her essay, “Mommy, what does the “n” word mean?” says that culture and language are closely related and that words mean different things to people of unlike cultures. One word seems to drift between the lines and words of her piece: ambiguous. She implies that even though language is universal, not everyone will perceive words the same way. Naylor is able to get this point across effectively by referencing the black population in New York when she was growing up. She tells us that they used the “n” word in many different contexts. If a small sample group already has so many different perceptions of one word, then how different would the meaning of that word become in an even larger population? Clearly, the reaction of another group in another context may be dramatically changed. Deeper in her essay, Naylor also expresses that a word itself holds no power; rather, the person who hears the word gives it power. She shows this by referring her first encounter with the “n” word. Even though Naylor did not know what the word meant, she understood it was an insult. The tone of voice and the harsh manner used by the speaker quickly put her on guard. But if the word was spoken in a softer way, would she still have reacted in the same way? It was her who gave the word its insulting capabilities, not the word itself. Naylor verifies this point again with her example of the black population of New York who used the “n” word, but transformed it into something that signified the, “ varied and complex human beings they knew themselves to be,” and that, “by meeting the word head-on, they proved it had nothing to do with the way they were determined to live.” So, the “n” word is not always an attack. Naylor’s writing points out that words undergo stereotypes just as people do, but in reality, words can have just about any meaning people want them to have, or agree they will have. Gloria Naylor’s fact is clear that words are hollow but that how they are interpreted is what gives them “soul”. Adapted from an essay by: Nico Ho, grade 10, Cariboo Hill Description
Organizational Language Structure: Learning Features:
Specific references As the sun was rising, and a faint rustling could be heard. The to subjects of the mother bear poked her head out of a bush, and after a moment of looking about her, she emerged, reassured that it was safe. text Immediately behind her was a cub , zigzagging to each of his mother’s paw prints.
The pair walked silently, towards an ever increasing rumble of a stream. Standing very still, her jaws open, the mother waited
patiently for a fish to jump in her direction. Sitting on the bank Sensory details quietly observing his mother’s every move and committing it to memory, was the cub.
An unsuspecting salmon leaped forth from the water only to be
swatted by a giant paw. The fish wriggled helplessly as its flight was unwontedly prolonged . The cub, still, silently waiting Organized in charged upon the gift his mother gave him. The day wore on, and chronological order another night passed. The days became hot, then cool, as the Alliteration leaves began falling, floating this way and that, until they came to rest on the ground.
The grey gloomy frost then became white, and slept. Slept until Specific, detailed once again it became warm, and green. actions And, now, again, and a faint rustling could be heard. The bear emerged from the bush, alone, and poked through the forest, towards the familiar stream. Reaching the banks of the river, the bear stopped, and looked, as a plump young bear confidently strode towards the forest, a fish wriggling in his mouth. The corners of the mother bear’s mouth curled, as if to smile, as she proudly watched her cub disappear into the forest.
Taken and adapted from: https://www.bced.gov.bc.ca/exams/exemplars/en_oc/en12-comp- sp.pdf Description
Organizational Language Structure: Learning Features:
As the sun was rising, and a faint rustling could be heard. The mother bear poked her head out of a bush, and after a moment of looking about her, she emerged, reassured that it was safe. Immediately behind her was a cub, zigzagging to each of his mother’s paw prints. The pair walked silently, towards an ever increasing rumble of a stream. Standing very still, her jaws open, the mother waited patiently for a fish to jump in her direction. Sitting on the bank quietly observing his mother’s every move and committing it to memory, was the cub. An unsuspecting salmon leaped forth from the water only to be swatted by a giant paw. The fish wriggled helplessly as its flight was unwontedly prolonged. The cub, still, silently waiting charged upon the gift his mother gave him. The day wore on, and another night passed. The days became hot, then cool, as the leaves began falling, floating this way and that, until they came to rest on the ground. The grey gloomy frost then became white, and slept. Slept until once again it became warm, and green. And, now, again, and a faint rustling could be heard. The bear emerged from the bush, alone, and poked through the forest, towards the familiar stream. Reaching the banks of the river, the bear stopped, and looked, as a plump young bear confidently strode towards the forest, a fish wriggling in his mouth. The corners of the mother bear’s mouth curled, as if to smile, as she proudly watched her cub disappear into the forest.
Taken and adapted from: https://www.bced.gov.bc.ca/exams/exemplars/en_oc/en12-comp- sp.pdf
Expository - Sequential
Organizational Language Structure: Stages of a Political Revolution Features:
During the first half of the twentieth century, an American generalized introduction historian named Crane Brinton put forth a view that political nouns; revolutions follow a predictable pattern. Each can be seen as a technical process that occurs in stages similar to the progress of a fever during a physical illness. terms
In the preliminary stage, the first symptoms appear. The government in power becomes inefficient and unable to carry out policies. Economic problems develop which often result in a present tense demand for increased taxation. Conflict exists between groups in the society and citizens begin to press for changes to the decision- verbs making process. nominalisation In the next stage, the problems facing the government become more severe. Financial breakdown occurs while protests rise and become more extreme. There is an attempt by political moderates
to bring about change through peaceful means. However, radical sequence of groups, dissatisfied with the pace or degree of this change, Transition chronological continue to press for a complete change in the government words structure. phases
During the third, or crisis stage , the actions of the radicals reach a peak, just as a fever increases to a critical point during an illness. It is at this stage that the actual revolution takes place and the radical thinkers take control of the government. Moderate groups are driven from power, often through violence or civil war.
In the final recovery stage , the fever breaks, and the country passive action begins to return to a more moderate form of government. Extreme verbs radical leaders are driven from power and there is a slow return to stability.
Expository - Sequential
Organizational Language Structure: Stages of a Political Revolution Features:
During the first half of the twentieth century, an American historian named Crane Brinton put forth a view that political revolutions follow a predictable pattern. Each can be seen as a process that occurs in stages similar to the progress of a fever during a physical illness.
In the preliminary stage, the first symptoms appear. The government in power becomes inefficient and unable to carry out policies. Economic problems develop which often result in a demand for increased taxation. Conflict exists between groups in the society and citizens begin to press for changes to the decision- making process.
In the next stage, the problems facing the government become more severe. Financial breakdown occurs while protests rise and become more extreme. There is an attempt by political moderates to bring about change through peaceful means. However, radical groups, dissatisfied with the pace or degree of this change, continue to press for a complete change in the government structure.
During the third, or crisis stage, the actions of the radicals reach a peak, just as a fever increases to a critical point during an illness. It is at this stage that the actual revolution takes place and the radical thinkers take control of the government. Moderate groups are driven from power, often through violence or civil war.
In the final recovery stage, the fever breaks, and the country begins to return to a more moderate form of government. Extreme radical leaders are driven from power and there is a slow return to stability.
Expository - Consequential
Organizational Language Structure: The Effect of Global Warming on the Polar Ice Caps Features:
Global warming refers to a gradual increase in the Earth’s surface Introduction temperature caused by the release of greenhouse gases, such as generalized nouns; carbon dioxide, methane, nitrous oxide and chlorofluorocarbons, technical terms into the atmosphere . These gases trap the Sun’s heat in the atmosphere and prevent excess radiation from escaping into space. This unnatural rate of increase in global temperatures has a great impact on the environment and human life. nominalisation One of the first signs of the threat posed by global warming is the increase in average temperatures in the polar region which has
resulted in a thinning of the ice pack. Large ancient ice shelves result #1 have begun to break into pieces reducing the available surface area for people and animals.
The shrinking ice cap has forced polar bears, walrus, whales and present tense verbs seals to change their feeding and migration routes. As a result ,
native people have difficulty hunting these animals which are an result #2 essential source of food.
An additional issue of concern is the impact of Arctic ice melting Transition words on increased global temperatures in other parts of the world. Polar areas of ice and snow provide a cooling layer for the Earth’s
surface. As these masses disappear, the Earth absorbs more result #3 sunlight which accelerates the rate of global warming.
Expository - Consequential
Organizational Language Structure: The Effect of Global Warming on the Polar Ice Caps Features:
Global warming refers to a gradual increase in the Earth’s surface temperature caused by the release of greenhouse gases, such as carbon dioxide, methane, nitrous oxide and chlorofluorocarbons, into the atmosphere. These gases trap the Sun’s heat in the atmosphere and prevent excess radiation from escaping into space. This unnatural rate of increase in global temperatures has a great impact on the environment and human life.
One of the first signs of the threat posed by global warming is the increase in average temperatures in the polar region which has resulted in a thinning of the ice pack. Large ancient ice shelves have begun to break into pieces reducing the available surface area for people and animals.
The shrinking ice cap has forced polar bears, walrus, whales and seals to change their feeding and migration routes. As a result, native people have difficulty hunting these animals, which are an essential source of food.
An additional issue of concern is the impact of Arctic ice melting on increased global temperatures in other parts of the world. Polar areas of ice and snow provide a cooling layer for the Earth’s surface. As these masses disappear, the Earth absorbs more sunlight, which accelerates the rate of global warming.
Interpretation
Organizational Language Structure: Character Sketch of Emily Strorm Features: introduction to topic Emily Strorm is represented as an obedient yet caring , extensive use of (single sentence arrogant yet sympathetic woman, who is the victim of an specific describers stating character oppressive society and an even more oppressive husband. extensive traits) Emily’s submission to her husband’s authority and to use of society’s laws about the “True Image” of God create a nominalization plot details significant internal struggle for Emily. While she feels that support sympathy for her sister, Harriet, and Harriet’s “deviated” character baby, Emily does not dare to stand up to her husband and will key traits character not even consider Harriet’s plan to switch babies in order to trait pass inspection. Even though Emily has experienced the loss of two of her own “deviated” children , she cannot show her compassion openly as she fears her husband’s moral relational secondary / judgment. Wyndham however reveals Emily’s sensitivity processes contrasting when he shows her weeping after her sister leaves. Emily’s (in present character external acceptance of society’s rules, and her emotional tense) trait response to her sister’s plea prove that Emily is a round character who is capable of a range of emotions. However, literary devices there is no proof that Emily changes throughout the novel and she never stands up to her self-righteous husband or to her concluding society. Thus, Emily is a static character in The Chrysalids, judgement sentence and effectively shows the extreme control that this intolerant words and oppressive society has over its citizens. Interpretation
Organizational Language Structure: Character Sketch of Emily Strorm Features:
Emily Strorm is represented as an obedient yet caring, arrogant yet sympathetic woman, who is the victim of an oppressive society and an even more oppressive husband. Emily’s submission to her husband’s authority and to society’s laws about the “True Image” of God create a significant internal struggle for Emily. While she feels sympathy for her sister, Harriet, and Harriet’s “deviated” baby, Emily does not dare to stand up to her husband and will not even consider Harriet’s plan to switch babies in order to pass inspection. Even though Emily has experienced the loss of two of her own “deviated” children, she cannot show her compassion openly as she fears her husband’s moral judgment. Wyndham however reveals Emily’s sensitivity when he shows her weeping after her sister leaves. Emily’s external acceptance of society’s rules, and her emotional response to her sister’s plea prove that Emily is a round character who is capable of a range of emotions. However, there is no proof that Emily changes throughout the novel and she never stands up to her self-righteous husband or to her society. Thus, Emily is a static character in The Chrysalids, and effectively shows the extreme control that this intolerant and oppressive society has over its citizens. Memoir/Biography
Organizational Language Structure: An Embarrassing Lesson Features:
It was the last week of school before summer vacation and my introduction Descriptions of friends are I, along with all the other students in the school, were packed (to time and place into the gym for the annual awards assembly. I was a pretty good place) student, and I was used to winning wards, so I naturally expected that I
would be rewarded for my success in at least one of my classes. I was sitting in the grade 8 section of the bleachers with a action group of my friends happily anticipating the moment when my name was called. Looking back, I realize we were a little specific, human evaluation immature…ok…maybe a lot. As the assembly went on and on, we references stopped paying attention to the speakers and began talking and goofing action around. All of a sudden I heard my name “Melissa Adamson.” My friend , and I use the term loosely here, started pushing me out of my evaluation seat telling me to go. “They called your name! Hurry up!” she urged . Without really thinking, I jumped out of my seat and climbed down onto verbal verbs- the gym floor. As I was walking towards the stage, I began to get the past tense feeling that something was not quite right. Everyone was laughing!?! I action froze, and looked at the sea of faces in front of me. I had no idea what was going on. I turned around to go sit down but my friends were mental verbs- series frantically pointing at the stage and signalling for me to keep going. I past tense of kept walking to the front of the gym, what else was I supposed to do?? (particularly events evaluation By the time I reached the stage steps my face was bright red and I didn’t know what to say to Mr. Olson, the teacher who was presenting during action the award. At first I thought he had been tired of waiting for me to evaluation claim my award and had begun announcing the names of the students stages of text) who won the next award. I decided I should just walk up to him and say my name. I stepped bravely in front of him and said just loudly enough evaluation to be heard over the microphone “Umm, my name is Melissa Adamson and you just called my name?” The students behind me erupted in laughter. He looked really confused and very uncomfortable. We both looked at each other for a moment and I finally realized what had action happened. I had been nominated for the award but I did not win. I had only received an honourable mention! My “friends” had tricked me!! I quickly apologized to Mr. Olson and ran off the stage. “No way!” I evaluation thought to myself, “I did not just do that in front of the entire school!” Although I am still embarrassed by my actions, I realize now commonsense, summary- that it was a very humbling experience. I learned the importance of everyday evaluation/ modesty and the dangers of being over confident. I also realized why language used reflection people advise you not to take yourself too seriously and remember that throughout it is better to laugh with others than be laughed at by others.
Memoir/Biography
Organizational Language Structure: An Embarrassing Lesson Features:
It was the last week of school before summer vacation and my friends are I, along with all the other students in the school, were packed into the gym for the annual awards assembly. I was a pretty good student, and I was used to winning awards, so I naturally expected that I would be rewarded for my success in at least one of my classes. I was sitting in the grade 8 section of the bleachers with a group of my friends happily anticipating the moment when my name was called. Looking back, I realize we were a little immature…ok…maybe a lot. As the assembly went on and on, we stopped paying attention to the speakers and began talking and goofing around. All of a sudden I heard my name “Melissa Adamson.” My friend , and I use the term loosely here, started pushing me out of my seat telling me to go. “They called your name! Hurry up!” she urged me. Without really thinking, I jumped out of my seat and climbed down onto the gym floor. As I was walking towards the stage, I began to get the feeling that something was not quite right. Everyone was laughing!?! I froze, and looked at the sea of faces in front of me. I had no idea what was going on. I turned around to go sit down but my friends were frantically pointing at the stage and signalling for me to keep going. I kept walking to the front of the gym, what else was I supposed to do?? By the time I reached the stage steps my face was bright red and I didn’t know what to say to Mr. Olson, the teacher who was presenting the award. At first I thought he had been tired of waiting for me to claim my award and had begun announcing the names of the students who won the next award. I decided I should just walk up to him and say my name. I stepped bravely in front of him and said just loudly enough to be heard over the microphone “Umm, my name is Melissa Adamson and you just called my name?” The students behind me erupted in laughter. He looked really confused and very uncomfortable. We both looked at each other for a moment and I finally realized what had happened. I had been nominated for the award but I did not win. I had only received an honourable mention! My “friends” had tricked me!! I quickly apologized to Mr. Olson and ran off the stage. “No way!” I thought to myself, “I did not just do that in front of the entire school!” Although I am still embarrassed by my actions, I realize now that it was a very humbling experience. I learned the importance of modesty and the dangers of being over confident. I also realized why people advise you not to take yourself too seriously and remember that it is better to laugh with others than be laughed at by others. Narrative
Organizational A Ghostly Tale Language Structure: Features:
One cold wet night , I left the warmth of my home for a brisk Introduction human evening walk. Suddenly a ghost appeared in the middle of the (One cold night…) references road. It was tall and silvery white. It floated toward me wailing Complication (noun groups) (Suddenly a “Oooooooo…” Shivers ran up my spine . I was petrified. Without ghost…) thinking, I ran away in the opposite direction from this horrible thing. After a while, I stopped to see where I was but I was Evaluation hopelessly lost. I was trapped in a maze of unfamiliar houses . I descriptions (I was petrified…) just couldn’t find my way home. Meanwhile, the ghastly thing of place kept coming. Following my every step. Where would I go now? Temporary Resolution Just then I saw a familiar house—my friend’s house. Running as (Without thinking, fast as I could, I took off towards the house with the horrible thing I ran away…) still close behind. I banged and banged on the door. While I highly Complication waited for someone to open the door, the ghost was coming closer descriptive (…I was hopelessly and closer, nearer and nearer. Was this going to be the end? Was I action lost…) really going to die here, on my friend’s door step? Quick Thomas! words Evaluation Hurry! Before it’s too late! (Where would I go now?...) The door opened just a crack. I quickly pushed it with all my might, darted inside and slammed the door shut. When I looked outside, the ghost had just disappeared. Only a white spot was left Resolution on the damp grass to show it had been there at all. (The door opened (from: Spooky Stories , Write it Right Project. State Equity Centre: New South just a crack…) Wales Department of Education and Training: Erskinville, NSW, 1995)
Note: A simple narrative has been used to introduce the schematic structure and language features. It is expected that as students’ progress through Language Adapted Composition 10, they will learn to analyse higher- level narrative text.
Narrative
A Ghostly Tale
One cold wet night, I left the warmth of my home for a brisk evening walk. Suddenly a ghost appeared in the middle of the road. It was tall and silvery white. It floated toward me wailing “Oooooooo…” Shivers ran up my spine. I was petrified. Without thinking, I ran away in the opposite direction from this horrible thing. After a while, I stopped to see where I was but I was hopelessly lost. I was trapped in a maze of unfamiliar houses. I just couldn’t find my way home. Meanwhile, the ghastly thing kept coming. Following my every step. Where would I go now?
Just then I saw a familiar house—my friend’s house. Running as fast as I could, I took off towards the house with the horrible thing still close behind. I banged and banged on the door. While I waited for someone to open the door, the ghost was coming closer and closer, nearer and nearer. Was this going to be the end? Was I really going to die here, on my friend’s door step? Quick Thomas! Hurry! Before it’s too late!
The door opened just a crack. I quickly pushed it with all my might, darted inside and slammed the door shut. When I looked outside, the ghost had just disappeared. Only a white spot was left on the damp grass to show it had been there at all.
Personal Response
Agree or disagree: Romeo and Juliet Organizational Language Structure: are the only ones to blame for their tragic deaths. Features:
introduction While most people consider Romeo and Juliet to be a great to the issue tragedy of two young and innocent lovers who are the victims of a general others (single sentence that strict society and stubborn parents, might consider the play references to be a criticism of the irresponsible and foolish period of being a re-states the topic) teenager. Romeo and Juliet know each other for less than two days 1st plot when they decide to marry in secret. Even though the play is set detail over four hundred years ago, two days seems outrageous for two people to get to know each other for the purpose of marriage. evaluation Their interest in each other is initially based on infatuation and judgment lust as they are instantly attracted to each other at the Capulet words masquerade ball. That same evening, Romeo and Juliet declare their love for each other on Juliet’s balcony, but they have only verbal processes known each other for a few short hours, and this is only the second (present tense) detail s of conversation they have exchanged! Romeo bases his love for Juliet character literary devices on her beauty; he uses personification and metaphor to describe series of and setting Juliet’s rosy cheek and her bright complexion, so that even the perspectives stars in heaven are envious of her. However , he knows nothing of + support evaluation her character or personality, and he doesn’t seem to care, for hours from text later he agrees to marry her the next day. cohesive 2nd plot Juliet on the other hand has a conversation with her conjunctions detail mother about marriage on the morning of the ball and agrees with her mother that marriage, “ would be an honour ” that she had not dreamt of. Juliet says that she is prepared to keep her eyes open direct for love if someone catches her attention. In fact, that someone is quotations supposed to be Count Paris, and just hours before meeting Romeo, from text Juliet does not have any objections to meeting him. She too sees Romeo at the ball, and instantly falls in love with his handsome mental features. For a brief moment she thinks about the consequences of processes evaluation falling in love with her ‘enemy’, but her enthusiastic and immature (present tense) desire for Romeo shuts out any logical concerns Juliet might have. Indeed , neither Romeo nor Juliet ever seriously considers the implications of their secret marriage that is performed by a superstitious and romantic Friar. Following the marriage, further complications lead to the tragic plan that ultimately results in position statement / judgement words Romeo and Juliet’s deaths. Is this anyone’s fault? Yes, it is the judgment fault of a couple of young teenage lovers, who do not have the
maturity or patience to think logically about their choices, or about the consequences of their foolish emotions. Personal Response
Agree or disagree: Romeo and Juliet Organizational Language Structure: are the only ones to blame for their tragic deaths . Features:
While most people consider Romeo and Juliet to be a great tragedy of two young and innocent lovers who are the victims of a strict society and stubborn parents, others might consider the play to be a criticism of the irresponsible and foolish period of being a teenager. Romeo and Juliet know each other for less than two days when they decide to marry in secret. Even though the play is set over four hundred years ago, two days seems outrageous for two people to get to know each other for the purpose of marriage. Their interest in each other is initially based on infatuation and lust as they are instantly attracted to each other at the Capulet masquerade ball. That same evening, Romeo and Juliet declare their love for each other on Juliet’s balcony, but they have only known each other for a few short hours, and this is only the second conversation they have exchanged! Romeo bases his love for Juliet on her beauty; he uses personification and metaphor to describe Juliet’s rosy cheek and her bright complexion, so that even the stars in heaven are envious of her. However, he knows nothing of her character or personality, and he doesn’t seem to care, for hours later he agrees to marry her the next day. Juliet on the other hand has a conversation with her mother about marriage on the morning of the ball and agrees with her mother that marriage, “would be an honour” that she had not dreamt of. Juliet says that she is prepared to keep her eyes open for love if someone catches her attention. In fact, that someone is supposed to be Count Paris, and just hours before meeting Romeo, Juliet does not have any objections to meeting him. She too sees Romeo at the ball, and instantly falls in love with his handsome features. For a brief moment she thinks about the consequences of falling in love with her ‘enemy’, but her enthusiastic and immature desire for Romeo shuts out any logical concerns Juliet might have. Indeed, neither Romeo nor Juliet ever seriously considers the implications of their secret marriage that is performed by a superstitious and romantic Friar. Following the marriage, further complications lead to the tragic plan that ultimately results in Romeo and Juliet’s deaths. Is this anyone’s fault? Yes, it is the fault of a couple of young teenage lovers, who do not have the maturity or patience to think logically about their choices, or about the consequences of their foolish emotions.
Persuasive Language Organizational Features: Structure: Should governments control children’s access to junk food?
Childhood obesity has become an increasing concern in generalised, mostly background many countries, particularly in Canada and Britain. After a recent nonhuman references information study revealed that 1 in 4 children in BC are overweight, the (nouns/ noun groups) provincial government began to consider the implementation of a junk food tax. Meanwhile, the British government has moved to target the media. They have decided to prohibit the advertising of nominalisation unhealthy foods or beverages during TV programming intended for
young audiences. The question could be asked, “Should statement of governments attempt to control children’s access to junk food?” extensive use of the issue There are several reasons why governments should control modality advertising that influences young minds, or place a tax on products that can be harmful to people’s health. In today’s society, increased television viewing means that children are exposed to a high arguments in frequency of enticing junk food advertisements. There is a favour greater possibility that children will ask their parents to purchase
these high calorie foods which could result in weight gain. Less judgment words exposure to junk food advertising on TV may reduce the demand for candy, chips and soft drinks. A tax on foods that are completely lacking in any nutritional benefit will increase prices and, hopefully, harmful reduce sales of snacks. Perhaps, the income generated from this tax could be used to fund programs to increase public conjunctions- used to awareness of the link between poor nutrition and childhood obesity. organise text However , limiting the advertisement of unhealthy food and
drink products on TV will not prevent youth from seeing ads for
these products in stores, on posters and billboards or in magazines.
It is impossible for governments to censor all sources of junk food
advertisements. As well, there is not a great likelihood that the
slightly increased cost of snacks resulting from a “junk food tax” arguments will deter most youth from choosing unhealthy foods to satisfy against their hunger. Taxing these foods will do little to encourage
families to exercise more, another important factor in maintenance of a healthy weight. These measures are an intrusion on the rights of parents and children to make independent decisions about which foods they wish to eat. In conclusion , while it is important for governments to summary support efforts that will reduce childhood obesity rates, laws that limit the freedom of citizens stand little chance of success. Therefore, the government should not attempt to control children’s statement of access to junk food. position Persuasive Language Organizational Features: Structure: Should governments control children’s access to junk food? Childhood obesity has become an increasing concern in many countries, particularly in Canada and Britain. After a recent study revealed that 1 in 4 children in BC are overweight, the provincial government began to consider the implementation of a junk food tax. Meanwhile, the British government has moved to target the media. They have decided to prohibit the advertising of unhealthy foods or beverages during TV programming intended for young audiences. The question could be asked, “Should governments attempt to control children’s access to junk food?” There are several reasons why governments should control advertising that influences young minds, or place a tax on products that can be harmful to people’s health. In today’s society, increased television viewing means that children are exposed to a high frequency of enticing junk food advertisements. There is a greater possibility that children will ask their parents to purchase these high calorie foods which could result in weight gain. Less exposure to junk food advertising on TV may reduce the demand for candy, chips and soft drinks. A tax on foods that are completely lacking in any nutritional benefit will increase prices and, hopefully, reduce sales of harmful snacks. Perhaps, the income generated from this tax could be used to fund programs to increase public awareness of the link between poor nutrition and childhood obesity. However, limiting the advertisement of unhealthy food and drink products on TV will not prevent youth from seeing ads for these products in stores, on posters and billboards or in magazines. It is impossible for governments to censor all sources of junk food advertisements. As well, there is not a great likelihood that the slightly increased cost of snacks resulting from a “junk food tax” will deter most youth from choosing unhealthy foods to satisfy their hunger. Taxing these foods will do little to encourage families to exercise more, another important factor in maintenance of a healthy weight. These measures are an intrusion on the rights of parents and children to make independent decisions about which foods they wish to eat. In conclusion, while it is important for governments to support efforts that will reduce childhood obesity rates, laws that limit the freedom of citizens stand little chance of success. Therefore, the government should not attempt to control children’s access to junk food.
Review
Organizational Review of Lovely Bones Language Structure: Features: On her way home from school on a snowy Introduction December day in 1973 , 14-year-old Susie Salmon is lured details of time and (2-3 sentence into a homemade underground den in a cornfield and brutally place relevant to summary / highlight text raped and murdered. It turns out she is the latest victim of a of the review item) serial killer—who is Mr. Harvey, her neighbour. cohesive conjunctions Alice Sebold's haunting and heartbreaking novel, The most characteristic Lovely Bones , is narrated from heaven where Susie finds feature of herself, and keeps watch over her grieving family and friends, work (in this as well as her coldly deceptive killer and the sad detective case: point working on her case. In her writing, Sebold shows that of view) everyone has his or her own version of heaven. Susie's heaven direct quotation resembles the athletic fields and landscape of a suburban high from text school: a heaven of her "simplest dreams," where " there descriptive detail about were no teachers.... We never had to go inside except for details art class.... The boys did not pinch our backsides or tell us about author we smelled; our textbooks were Seventeen and Glamour the work Vogue (should and ." relational and statement include The Lovely Bones represents a strange but touching mental processes of theme comment coming-of-age story. Susie struggles to accept her death while (in present tense) about plot, still clinging to the world she has lost by following her character character family's struggles as they deal with her death. Her family and theme) details that disintegrates in their grief: her father becomes determined to expand on find her killer, her mother withdraws, her little brother theme Buckley attempts to make sense of the new hole in his family, and her younger sister Lindsey tries to live the life that her older sister could not live. specific literary Even though The Lovely Bones can be too sentimental devices and references at times, it is a novel that explores the difficult themes of
death and mourning. The characters are very realistic and general well-developed , and help the readers to understand these references judgment difficult themes and still have faith in the ability of people to continue living and surviving after death. Some readers may not find it very realistic that the denouement wraps up the judgement words conflicts so happily. However, other readers might enjoy the ending of the story as it allows them to believe that heaven is indeed a place filled with such happy endings. reviewer’s Overall this novel is inspiring and very engaging for recommendation young readers , and is highly recommended.
Review
Organizational Review of Lovely Bones Langu age Structure: Features: On her way home from school on a snowy December day in 1973, 14-year-old Susie Salmon is lured into a homemade underground den in a cornfield and brutally raped and murdered. It turns out she is the latest victim of a serial killer—who is Mr. Harvey, her neighbour. Alice Sebold's haunting and heartbreaking novel, The Lovely Bones , is narrated from heaven where Susie finds herself, and keeps watch over her grieving family and friends, as well as her coldly deceptive killer and the sad detective working on her case. In her writing, Sebold shows that everyone has his or her own version of heaven. Susie's heaven resembles the athletic fields and landscape of a suburban high school: a heaven of her "simplest dreams," where "there were no teachers.... We never had to go inside except for art class.... The boys did not pinch our backsides or tell us we smelled; our textbooks were Seventeen and Glamour and Vogue ." The Lovely Bones represents a strange but touching coming-of-age story. Susie struggles to accept her death while still clinging to the world she has lost by following her family's struggles as they deal with her death. Her family disintegrates in their grief: her father becomes determined to find her killer, her mother withdraws, her little brother Buckley attempts to make sense of the new hole in his family, and her younger sister Lindsey tries to live the life that her older sister could not live. Even though The Lovely Bones can be too sentimental at times, it is a novel that explores the difficult themes of death and mourning. The characters are very realistic and well-developed, and help the readers to understand these difficult themes and still have faith in the ability of people to continue living and surviving after death. Some readers may not find it very realistic that the denouement wraps up the conflicts so happily. However, other readers might enjoy the ending of the story as it allows them to believe that heaven is indeed a place filled with such happy endings. Overall this novel is inspiring and very engaging for young readers, and is highly recommended.
APPENDIX C
First peoples PRINCIPLES OF LEARNING
Learning ultimately supports the well-being of the self, the family, the community, the land, the spirits, and the ancestors.
Learning is holistic, refl exive, refl ective, experiential, and relational (focused on connectedness, on reciprocal relationships, and a sense of place).
Learning involves recognizing the consequences of one’s actions.
Learning involves generational roles and responsibilities.
Learning recognizes the role of indigenous knowledge.
Learning is embedded in memory, history, and story.
Learning involves patience and time.
Learning requires exploration of one’s identity.
Learning involves recognizing that some knowledge is sacred and only shared with permission and/or in certain situations.
For First Peoples classroom resources visit: www.fnesc.ca
APPENDIX D
Reading Strategies
Accessing background knowledge
Anticipation guide An anticipation guide is a pre-reading strategy designed to activate students’ background or prior knowledge surrounding issues or concepts. The guide is a series of statements about a particular text that the students are going to read. Students indicate whether they agree or disagree with the statements before reading, and return to these statements and do the same after reading.
Activity sequence: 1. Review the text to identify major concepts or main ideas. 2. Choose concepts which support or challenge beliefs. 3. Create four to six simple statements. 4. The statements should be open-ended and allow for a variety of opinions or interpretations, rather than be true/false. 5. Decide on the order of the statements and a presentation mode (paper handout, whiteboard or projector). 6. Present statements before students read the text . Students react to each statement by agreeing or disagreeing with it. 7. Poll students and then discuss each statement briefly. Encourage students to share opinions and give reasons. Discuss what the text may be about. 8. Students read the text silently, in pairs, or the teacher may read the text aloud. 9. Students record the author’s opinions regarding the statements in the guide. 10. After reading, students return to the statements to agree or disagree. 11. As an extension , students could cluster and write about one of the major concepts as presented in the statements.
Brainstorming Brainstorming is a procedure that quickly allows students to generate what they know about a key concept. Students produce lists of related words as a way to review a topic. This instantly makes them aware of how much they know about the topic. This generated list of words/concepts could be used as a source for others activities such as: Semantic mapping Teacher led group(s) Independent work
Visualize and Revise Question and Revise encompasses accessing background knowledge , making predictions, and connecting what is read with what is known by scaffolding new information onto the old. Students can be guided in making inferences and drawing conclusions.
Activity sequence: 1. Show students an image from the beginning of the novel / story / text. 2. Have students discuss the image in a small group, asking questions and confirming ideas with the image: What do you notice? What do you think is happening? Where is this taking place? Who are the individuals? / What are the key events? What are the relationships between these individuals / events? 3. Have groups share their ideas with the whole class. Discuss similarities and differences. Discuss the process: Was this easy? If so, why? What this difficult? If so, why? Did you have enough information? 4. Show the students the next image from the story / text. Repeat step 2, adding new information to what they already know from the first image. 5. Repeat step 3. Discuss how comprehension is improved when new information is scaffolded on the old. 6. Repeat procedure with all, or some, of the reading. 7. Read the story / text. 8. Discuss the process and how it enhanced the students’ thinking. Discuss how the students could use this approach in their own reading to become better readers.
Sort and Predict Students manipulate selected words from the passage and make predictions before the text or story is introduced.
Activity sequence: 1. Choose twenty to thirty key concept words from a text or story. 2. Arrange students in partnerships or small groups . 3. Ask students to categorize the words in five categories and include one “unique” category. 4. Students label the categories and predict what the text will be about. 5. Share the categories among the groups. 6. As a large group, make 3 predictions and 3 wonderings about the text. 7. Read the text or story. 8. Students confirm or revise predictions and wonderings as they read.
Predicting what will happen or what will be learned
Building from Clues (articles, pictures, artifacts, etc.) Giving students clues about what they are going to read is a good way to interest them in the piece of literature and can be used in every curricular area in secondary school. This activity is used to introduce information from an English text or material presented in a magazine or newspaper article. The teacher brings in objects or images and shows them to the students. Individually or as a class, students predict what the reading will be about. The teacher solicits a wide range of responses, encouraging students to be as thoughtful or outrageous as the material demands. Depending on the clues, students can predict where, when, who and what , as well, they may be able to predict slant or bias .
To introduce a new reading, the teacher brings actual objects related to the story or text and shows them to the students and the students predict what the reading will be about. For Lord of the Flies for example, the teacher might bring in a shell, a map, a box of matches, a flag, a pair of glasses, a uniform or a badge, a First Aid kit, and perhaps black cloth to represent death.
Looking at the objects and relating them, on a chart, students predict: Who Where What Why When How
The idea is that as each object is presented, the students will make connections between the clues, and begin to develop a context for the information. Each clue should also bring students closer to making a more focused and specific prediction.
Directed Reading Thinking Activity The questions framed throughout the directed reading encourage students to articulate their thinking while reading .
Activity sequence: 1. Use a short section of text. 2. Project it on to the board. 3. Divide the text into 4 or 5 parts. 4. Reveal one part of the text at a time on the projector (e.g. title, 4 or 5 logical stopping places) 5. Read the revealed text (either silently, orally, or students taking turns) 6. At each stopping place (e.g. after title) ask: What is happening here? What will happen next? Why do you think so? 7. Read on to the next stopping place and repeat the questions.
Image Information Gap Split Images fosters the development of making predictions and mental images . The text used should be descriptive, as this strategy works exceptionally well with long, dense narrative text.
Activity sequence: 1. The teacher selects key images from a source relevant to the passage (Internet or magazine photos for example). The images will be shown in sequence. 2. Students are divided into pairs and identify themselves as the A or B member of that pair. 3. The teacher shows all the A students the first image. Those students then go back and describe the image in detail to the B member of their pair. 4. The B students sketch the image as it was described to them. B students may request additional information from A students as needed. 5. The teacher now shows all the B students the second image . They then go back and describe the image in detail to the A member of their pair. 6. The A students sketch this image as it was described to them, now building on their familiarity with the first image. 7. This process is repeated until all the images have been shown. 8. The teacher then initiates a whole-class discussion about what the passage may be about. 9. A whole-class discussion about the process should follow. It may focus on such questions as: What was difficult/easy about this activity? Did this process become easier as it progressed, and if so, why? How will this process help you as a reader? What did you have to do as a partner to make your partnership work effectively? 10. Read the passage. (This activity may be spread over several days).
ReQuest ReQuest is an abbreviated word for “ reciprocal questioning ”. The ReQuest strategy helps students acquire the strategies of comprehension monitoring through teacher modeling and coaching . The teacher and class alternate the role of questioning. The teacher models the type of question being asked to heighten the metacognitive awareness of the kinds of thinking involved. On the line , between-the-line , and beyond-the-line questions are modeled.
Activity sequence: 1. Predict from the title what the class expects the story or text will be about. Collect a broad range of predictions. 2. Read the first paragraph of the chapter or story together silently. 3. Cover the reading passage. 4. The teacher assumes the initial role of questioner. Questions asked are: on the line (literal) between the lines (interferential) beyond the lines (experiential)
* Support for answers can be found by rereading the text, if necessary.
5. The roles of questioner and responder alternate between the teacher and the class. 6. The teacher models good questions and clarifies their type, models good answers, and calls for elaborative thinking . 7. At the final break in the reading, students predict what the story is about, and they vote on their choices to encourage personal commitment. 8. Students cluster and write in defense of their choices. 9. Students compare predictions with other students and continue to make references to the text in order to confirm , alter or negotiate their predictions.
Strategies for unknown words
Think Aloud This activity provides a way to teach thinking skills through modeling .
Activity sequence: 1. The teacher verbalizes his or her own reading strategies out loud while reading. 2. The teacher provides opportunities for students to develop and verbalize metacognitive strategies . This helps students learn to monitor their own thinking and improve their reading comprehension. 3. This strategy is particularly useful for the introduction of narratives or text when a ‘good’ reader needs to assume / consider a lot of background information that might not yet be provided by the author.
Visual Dictionaries Encourage students to create a personal dictionary
Strategies for Connections
Looking Beyond the Text (Super-Structure Text Features)
This strategy is used for non-fiction prose—newspaper or magazine articles for example.
In this activity students are pointed to a text’s layout and formatting to obtain clues that reveal critical information such as the main idea, timelines, primary versus secondary information, key vocabulary, important figures and dates, key events and locations.
Students should gain practice in identifying non-linguistic features that editors and publishers purposefully use to sort / highlight information and make complex text more accessible for all levels of readers.
By taking the time to focus in on the non-linguistic text cues provided in most articles, students will be able to predict content and establish a more defined context for their continued work with the text.
Activity sequence: 1. In pairs or small groups, have students look at the text and following questions:
What is the title of this text and what can you predict from this title? Are heading or sub-headings used in this text? Copy them down. Are any words bolded or italicized? Copy them down in the order that they are given. Do you recognize any of these words? Do they give you a clue about the field of this text? Can you pick out capitalized words that look like the names of people, titles (Dr. Professor, President, etc) places or major ideas? Copy these down. Are charts, graphs, or diagrams included with the text? What information do these graphics seem to provide you with?
2. Allow 10 minutes for this activity. 3. At the end of the activity, the teacher can lead a discussion that will become the overview of the reading. Ask question such as,
Who are the major players in this text? What field are we working within (medical? high tech? education? social? political? etc.) Who is this text written for? What issue or problem is being discussed? What important vocabulary will we have to consider further?
Question and Revise (a useful strategy for both predicting and connecting to background knowledge)
Question and Revise encompasses accessing background knowledge, making predictions and connecting what is read with what is known by scaffolding new information onto the old . Students can be helped to make inferences and draw conclusions.
Activity sequence: 1. Show students an image from a section of the reading. 2. Have students discuss the image in a small group, asking questions and confirming ideas with the image: What do you notice? What do you think is happening? What is the setting or in what setting would you expect this image? Who might these individuals be? What are the relationships between these individuals / events? 3. Have groups share their ideas with the whole class. Discuss similarities and differences. Discuss the process: Was this easy? If so, why? Was this difficult? If so, why? Did you have enough information? 4. Show the students the next image from the reading. Repeat step 2, adding new information to what they already know from first image. 5. Repeat step 3. Discuss how comprehension is improved when new information is scaffolded by the old . 6. Repeat procedure with the complete passage or with the chapter. 7. Read the complete passage or chapter. 8. Discuss the process and how it enhanced the student’s thinking. Discuss how the students could use this approach in their own reading to become better readers.
Question/Answer Relationships Students develop questions to help them understand the relationship between a) the printed text , b) the author’s message and c) their own personal experience .
Activity sequence: 1. Teach the students that there are at least three different kinds of questions: Right There – Literal Comprehension Think and Search – Inferential Comprehension In My Head – Interpretation / Interpolation 2. Model asking the three different kinds of questions from a previously read narrative or text. Students categorize which type of question is being asked. 3. Read a common passage. 4. Have students reread a chunk of the passage and develop “ Right There ” questions. 5. Students must find the actual text that answers the question. 6. Repeat the same procedure to teach each of the other type of questions.
The following questions will help to guide students towards asking the right kinds of questions that isolate the three levels of information:
For ‘Right There’ questions ask: Who did…? What did…? Where did…? What kind…? What does… mean? When did…? The answers to these question are ‘ Right here ’ in the text, often in the same sentence from where you found the question.
For ‘Think and Search’ questions ask: How do you know that…? What happened to…? What happened before…? How many times…? What caused…? The answer is found in different parts of the text. The answer is hidden somewhere back.
For ‘On My Own’ questions ask: In your opinion…? Do you agree with… Why…? Do you support…? Would you be able to justify…? Can you think of an alternative for…? How would you have reacted to…? If you could change this part of history, what would…? The answers to these questions are not in the text; they are in your head .
Read – Draw – Confirm This strategy is a post reading activity in which the students draw an image of the passage, and confirm the accuracy of their work by rereading the text.
Activity sequence: 1. After reading a passage of text, students are asked to draw an accurate detailed image, key visual or graphic of the passage, referring to the text for the content. 2. Once students are familiar with this activity, they can be asked to build their image based not only on the given passage, but also on other parts of the story that may also be relevant. 3. Students confirm that their image is both accurate and complete by rereading the story. 4. Students may also add captions or sentences to their images.
Strategies for understanding main ideas and symbols
Listen - Sketch - Draft The students sketch the key descriptions, symbols or images from the passage that they have read or heard and summarize the key points. This may be done several or many times during a reading passage and may be used as a basis for a written response at the end of a descriptive passage. Students listen for key images or impressions, draw (and therefore visualize ) what they hear, and summarize each section with a concise sentence. This is also an excellent listening activity for students.
Activity sequence: 1. Provide students with a response sheet : Sketch Draft • Create enough boxes down the right hand side of the sheet 1. that correspond approximately to the number of sections you will be reading aloud to the students. • It is best to work with a piece of text that can be chunked into between 4 and 8 parts. 2.
2. Read aloud to the students: • Read the first section of text aloud to students. Students’ pencils are down and they are listening. • For the first few sections, the teacher may want to read each 3. section twice before the students sketch. • Stop reading, and allow 1-2 minutes maximum for students to make a sketch of the information. • This limited time to sketch forces students to focus and represent key descriptions . 4. • Repeat this process for all the sections.
3. Students summarize their images when all the boxes have been sketched. This allows for students to go back and interpret their own thought patterns while recalling what they heard from the readings.
4. Talk about the sketches and the big ideas in the passages, first with a partner and then with the class. What different images and symbols did individual students pick up on and represent? Which section was the most difficult to sketch? Try to figure out why by looking more closely at the text with the whole group. How does this activity help you to visualize the images that the author is building? Did this activity become easier as it progressed? Discuss this together.
5. As an extension activity , students can develop the summarized sentences into more complete pieces of interpretive , creative or analytical writing .
Collaborative Summaries This strategy can be successfully used at the end of a chapter to review and summarize information covered. It works well with non-fiction texts or newspaper articles. Through this strategy, students are expected to interact , talk through their understanding with a peer, defend their ideas, persuade others , and in listening to others, incorporate new ideas into their own thinking.
Activity sequence: 1. Give each student 3 small pieces of paper. Direct students to individually write down the 3 most important things they learned in the reading. 2. After about 3 minutes, students move into pairs . Pairs negotiate to come up with 3 points on which both agree. 3. After about 3-5 minutes, move students into groups of 4 (2 groups of 2). Students again negotiate on the three most important points. In doing this there is a need to defend their point of view to convince others . The groups’ three most important points are printed using felt pens on large pieces of chart paper. 4. Each group puts their paper up on the board, all papers lining up across the front of the room. 5. Give students a few moments to read all the points and then have a student from each group present their 3 points to the class.
Strategies for Inferencing
Bubble Thinking This strategy provides students with the opportunity to make inferences and draw conclusions , and to reflect on and respond to a character or key individual’s motivations / intentions / purposes.
Activity sequence: 1. Read a passage from a novel or short story. Stop at a specific point illustrated on the activity sheet. 2. Discuss the events to this point, make connections with prior knowledge , and talk about how the character is thinking and what the purpose is behind the individual’s actions – his or her “ motivations ”. (Do a “think – pair – share”). 3. Students or the teacher record the character’s actions / thinking / beliefs on the appropriate part of the activity sheet. 4. Repeat procedure with the remainder of the reading or chapter. 5. Alternatively, the entire text could be read before having the discussion and completing the activity sheet.
specific event / the character does… says… thinks… I agree… challenge… don’t incident on wonders… fears… believes… fights… think… support… wonder… pg(s).___ concludes… considers… resolves… believe… wish… wanted… encounters… worries… confronts… argue… would have… attempts… struggles to / with…
Reading Stage Directions
Adapted from www.thoughtco.com
Notations in the script from the playwright, set aside with brackets, tell the actors where to sit, stand, move about, and enter and exit. The directions are written from the perspective of the actor facing downstage, or toward the audience. The rear of the stage, called upstage, is behind the actor's back. An actor who turns to his right is moving stage right. An actor who turns left is moving stage left.
Stage directions also can be used to tell an actor how to shape his or her performance. These notes may describe how the character behaves physically or mentally and are used by the playwright to guide the play's emotional tone. Some scripts also contain notations on lighting, music, and sound effects.
C: Center D: Downstage DR: Downstage right DRC: Downstage right center DC: Downstage center DLC: Downstage left center DL: Downstage left R: Right RC: Right center L: Left LC: Left center U: Upstage UR: Upstage right URC: Upstage right center UC: Upstage center ULC: Upstage left center UL: Upstage left
Question Formation
5W’s Who What Where When Why
Types of Questions Closed – a question that can be answered with ‘Yes’ or ‘No’ Open – a question that cannot be answered with ‘Yes’ or ‘No’
Simple – a question that easily answered Complex – a question that needs critical thinking or investigation
Activities Choose a topic relevant to what the class is currently working on. Create mix and match strips of paper for students to begin being able to identify different types of questions (see example on next page). Encourage students to create different kinds of questions – closed, open, simple and complex. Build question formation about text into your daily practice helping students to understand the difference between types of questions. 1. CLOSE ENDED QUESTIONS Which nation does Black Panther come from?
2. OPEN ENDED SIMPLE QUESTIONS What motivates Laurie to lie in Shirley Jackson’s “Charles?”
3. OPEN ENDED COMPLEX QUESTIONS What factors influence the barber’s decision in “Just Lather, That’s All” by Hernando Tellez? Questions that can be answered with a yes or a no
Questions that can be easily answered without using yes or no
Questions that require critical thinking or investigation
Did Katniss Everdeen win the Hunger Games?
Is Obama the current president of America?
Where did Harry Potter go to school?
RETELL
I can explain what is happening in the poem to someone who has not read it.
I can imagine this poem in a image or scene.
I can pick out the important conflict.
SHOWING UNDERSTANDING
I can pick out important words in the poem.
I can see how the context (setting, conflict, background situation) influences the Big Ideas.
I understand the character's feelings.
I can pick out a key symbol in the poem and explain why it is important.
I can connect these details to a larger idea.
ANALYSIS
I can explain how and why the character changes over the beginning, middle and end of the poem.
I can prove the character’s learning journey with the use of specific support from the poem.
I can explain what the reader can learn (what we learn) from the character’s experience in the poem.
APPLICATION
I can connect what the character learns to what we must learn about each other
(humans) and the world.
I can explain the advice that the writer gives to the reader in the poem.
I can show how I would use this advice in
my own life.
I can offer advice for what human thought and human action should be (thoughts
and actions).
Speaking/Listening
As with reading and writing, Language Adapted students will require structured , purposeful activities to develop academic speaking and listening skills. Below are several strategies, which will allow teachers to provide content instruction while allowing explicit opportunities to develop oral language skills.
Pictionary for the Ears useful for vocabulary review (adapted from Dave Sperling – Dave’s ESL Café, www.eslcafe.com)
1. Divide the class into two groups. 2. Write 12-14 vocabulary items (without the definitions) on index cards. Students should be quite familiar with these terms before this activity is introduced. 3. Teams flip a coin to decide who will go first. A member of the first team selects a card. The object of the game is to describe what the word is without saying the actual word. They cannot use their hands or make sounds—they must only describe orally until their team gets the answer. Allow 15-20 seconds for teams to respond to the verbal clues. If they are correct, their team gets the card. If not, it goes back into the draw. 4. Teams alternate until all the cards are distributed. 5. The team with the most cards wins.
Who? What? Where? When? Why? 1. Break a passage into 5 or 6 sections of 2-3 paragraphs each. 2. Divide the class into corresponding groups (1 group for each section of the text). It is better to assign groups rather than allowing students to self-select, as the teacher can control language and ability groupings. 3. Ask the group members to read through their passage and decide which “wh” question is MOST answered, e.g. ‘Which characters are engaged in a struggle? Why was Piggy killed?’ 4. Groups could then exchange texts and questions, and read to find an answer to the questions.
This activity will require teacher modeling for the first few passages. It is an excellent tool for generating summary review questions before a test.
Dictagloss From ESOL Online, http://www.tki.org.nz/r/esol/esolonline/index_e.php Work with a text passage of about 8 to 12 sentences . Dictagloss has four stages :
1. Preparation – introduce the topic, the language focus and the key vocabulary. 2. Dictation Read the passage at a speed a bit slower than native-speaker speed. Read the passage again at native-speaker speed. On the second reading, students individually make very brief notes (sentence fragments) on main events, key images or symbols used. Stress that the purpose is to get the main ideas, not every word exactly as it appears in the text, so do not read too slowly. 3. Reconstruction – the students work in pairs and then in fours to compare notes and write a shared version of the passage. In these groupings, students should work together to edit for accurate spelling, punctuation, sentence structure, and language appropriateness, while capturing the essence of the original passage. 4. Analysis and correction – the students compare reconstructions with other groups and with the original. Discuss the differences. 5. Many extension activities can develop out of this strategy as students can alter key images or symbols to generate new writing that is an interpretation of the original passage.
Dictagloss takes about 1 hour if done carefully, and can continue depending on extension activites.
Jigsaw Reading
1. Divide participants into small, mixed ability and language groups. 2. Each group should select one person to be the leader . 3. Divide sections of a passage, story, poem, or nonfiction text between the groups and assign each group one segment to read. 4. Distribute recording sheets to group members so they can take notes. Give the group members time to read their segments. 5. Form “expert groups” of the leaders, and have the “expert groups” discuss the main points / meanings / interpretations of their segment. 6. Have leaders move back into the various groups (the leader of each original group will be in a new group now), and present their segment. The members of each group should ask the leaders clarifying questions . 7. “Jigsaw” until each leader has had a chance to visit each group. 8. Reconvene as a whole group to discuss findings or common themes and to clarify any questions. Some clarifying questions teachers can explicitly teach: (All the “ wh ” questions.) What did you mean by… (paraphrase what you think you heard)? I didn’t understand the part about… (paraphrase what you think you heard)? Could you repeat what you said about… (paraphrase what you think you heard)? Did you say that… (paraphrase what you think you heard)? What did you say at the beginning about… (paraphrase what you think you heard)?
Questioning the Author Adapted from Buehl (2009) This strategy encourages students to understand the relationship between author and readers This process helps the students take an inquiry stance towards texts
Sample Discussion Questions: What is the author trying to tell the reader? What does the author assume you already know? Why is the author telling you this? What is the point of the author’s message? What does the author think is most important? How do they show this? Did the author explain their ideas clearly?
Use the sample questions to help build the student’s understanding. An extension to this activity can include having students create their own Author questions.
Point of View Activities Adapted from Buehl (2009)
1. Identify a character from a text. 2. Model this process for the class by assuming the role of that character. Have the class ask you questions that you then have to answer in the role of the character. 3. Encourage students as they read another text passage to both think of questions for characters and think of response that those characters may make. 4. Role-play in front of the class
Line Up Reviews Adapted from Buehl (2009)
1. Students are given index cards and asked to write a written response to a prompt Prompts can be the same for the entire class or there can be multiple prompts 5. After students have written a response on their index card, they are organized into two lines facing each other. 6. Partner A reads their response followed by Partner B. 7. Time is allotted to allow for discussion or follow up questions 8. Line A moves down the line while Line B remains stationary allowing students the opportunity to speak with multiple others in the class.
Fishbowl Adapted from www.facinghistory.com In a Fishbowl discussion, students seated inside the “fishbowl” actively participate in a discussion by asking questions and sharing their opinions, while students standing outside listen carefully to the ideas presented. Students take turns in these roles, so that they practice being both contributors and listeners in a group discussion. This strategy is especially useful when you want to make sure all students participate in a discussion, when you want to help students reflect on what a good discussion looks like, and when you need a structure for discussing controversial or difficult topics. A Fishbowl discussion makes for an excellent pre-writing activity, often unearthing questions or ideas that students can explore more deeply in an independent assignment. 1. Select a Topic - Almost any topic is suitable for a Fishbowl discussion. The most effective prompts (questions or texts) do not have one right answer or interpretation, but rather allow for multiple perspectives and opinions. The Fishbowl strategy is excellent for discussing dilemmas, for example. 2. Set Up the Room - A Fishbowl discussion requires a circle of chairs (“the fishbowl”) and enough room around the circle for the remaining students to observe what is happening in the “fishbowl.” Sometimes teachers place enough chairs for half of the students in the class to sit in the fishbowl, while other times teachers limit the chairs further. Typically, six to 12 chairs allows for a range of perspectives while still giving each student an opportunity to speak. The observing students often stand around the fishbowl. 3. Prepare for the Discussion - Like many structured conversations, Fishbowl discussions are most effective when students have had a few minutes to prepare ideas and questions in advance. 4. Debrief - After the discussion, you can ask students to reflect on how they think the discussion went and what they learned from it. Students can also evaluate their performance as listeners and as participants. They could also provide suggestions for how to improve the quality of discussion in the future. These reflections can be in writing, or they can be structured as a small- or large-group conversation.
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# ) ------ x Figurative Language for Effective Speaking Alliteration refers to the recurrence of initial consonant sounds. The phrase "rubber baby buggy bumpers" is one example you might remember from your childhood. Allusion is a reference to an event, place, or person. For example, you might say, "I can't get changed that quickly, I'm not Superman!" Amplification repeats a word or expression for emphasis, often using additional adjectives to clarify the meaning. "Love, real love, takes time" is an example of amplification because the author is using the phrase "real love" to distinguish his feelings from love that is merely infatuation. Anaphora repeats a word or phrase in successive phrases. "If you prick us, do we not bleed? If you tickle us, do we not laugh?" is an example from Shakespeare's Merchant of Venice . The use of anaphora creates parallelism and rhythm. Hyperbole refers to an exaggeration. Saying "I have done this a thousand times" to indicate that you're very familiar with a task is an example of hyperbole because it is unlikely you've really performed the task a thousand times. A metaphor is a type of implied comparison that compares two things by stating one is the other. "The eyes are the windows of the soul" means you "see" someone's emotional state by looking into their expressive eyes-eyes are not literally windows. Metonymy is a type of metaphor where something being compared is referred to by something closely associated with it. For example, writers often refer to the "power of the pen" to convey the idea that the written word can inspire, educate, and inform. A pen has no power as an inanimate object, but the writer's words can reach a broad audience. Onomatopoeia refers to words that imitate the sound they describe, such as "plunk," "whiz," or "pop." An oxymoron creates a two-word paradox-such as "near miss" or "seriously funny." An oxymoron is sometimes called a contradiction in terms and is most often used for dramatic effect. Parallelism uses words or phrases with a similar structure. "Like father, like son" is an example of a popular phrase demonstrating parallelism. This technique creates symmetry and balance in your writing. A simile compares one object to another. "He smokes like a chimney" is one example. Similes are often confused with metaphors, but the main difference is that a simile uses "like" or "as" to make a comparison and a metaphor simply states the comparison. Rhythm is the arrangement of words alternating stressed and unstressed elements Flow is the ability to progress continuously and effortlessly.
Writing Strategies
Principals for Teaching Writing
Writing is the most challenging literacy activity for most people, and especially for students who find reading and language difficult.
Consider some of the skills involved in writing:
deciding the purpose in writing determining the audience being aware of what I know about the topic organizing separate ideas into related thoughts planning thinking of where and how to begin thinking of a sentence and writing it down checking the spelling of the words checking whether what I wrote matches what I intended to write rereading what I wrote editing proofreading
Many of these skills are mentally processed simultaneously for skilled writers . Students in Language Adapted classes require many opportunities to become familiar with the various text types, or genres used in English . These text types need to be developed through a staged process involving modelling and joint construction of text prior to independent construction.
Explicitly Teach the Text Types
Activities for Modelling Text Modelling (or demonstration) is a method by which teachers can make explicit for the students the purpose , structure and language features of the type of writing needed.
1. On the projector, show a completed sample of the text type that students will be required to write. The model text could be a published sample or one that has been written by a teacher or student.
Through guided questions, the students will be able to analyze the text to identify:
a) the purpose of the writing Where would you find this piece of writing? Why was it written? What does the author want you to know? b) the structure of writing Why is the writing organized as it is? What are the different stages of the writing? “ Look at the beginning. Do you notice that it is more general than the other paragraphs? The writer has done this to allow the reader to predict the content of the other paragraphs ”
c) the language features of the writing the use of past tense verbs / processes and chronological connecting phrases in historical recounts for example
2. Compose a sample piece of writing on an overhead projector using a THINK ALOUD strategy to demonstrate the development of the writing for the students, and to articulate the choices that a “ skilled writer ” makes.
3. Show students examples of good models as well as unsuccessful models of writing (using student examples) to increase students’ familiarity and recognition of what constitutes a “good” piece of writing
4. Make assessment criteria explicit for each individual activity before students start writing. Alternatively, create assessment criteria with students.
Some reinforcing activities: 1. Ask students to reconstruct a text from jumbled paragraphs. Provide a model of the text structure and glue the paragraphs into an appropriate sequence.
2. Discuss the language features of the text type: the use of technical terms, the present tense, the third person, and so on.
3. Provide a text with colloquial terms instead of technical or specialized vocabulary , and ask students to find the inappropriate terms and replace them.
Activities for Joint Construction of Text
This is a process which involves both students and the teacher in the construction of a written text.
The purpose is to give students a structured opportunity to “try out” the text type that has been previously modelled by the teacher.
The following activities may be used to support this stage of text construction.
Writing from Students might be given a completed cause and effect chart as a resource for construction of a personal response piece evaluating a character’s decisions. graphic organizers
Using a model piece of writing on the overhead, review for students the schematic structure and language features of the target text type.
Students work independently or in small groups to write the text. During this stage, students negotiate and edit their piece of writing to incorporate not only their ideas, but also the requirements of the text type they are striving for.
Jigsaw Writing Build background knowledge for a planned writing task through videos, assigned reading or group discussion.
Students record the key events / incidents in note form, or graphically.
Review for students the schematic structure and language features of the target text type.
Assign students to small groups. Each group is responsible for writing ONE aspect of the text. The individual paragraphs or sections of text can be written on chart paper or overhead transparencies so that all class members can view them.
Jointly review / edit the completed text.
Some Reinforcing Activities
Provide students with a scaffold for organizing their ideas by providing a partial outline / thesis statement / topic sentences / key words or ideas.
Discuss the use of flow charts or diagrams to organize information.
Discuss the use of timelines to sequence key incidents or conflicts in the story.
Examine advertisements to discuss intended audience, purpose, symbols or images.
Independent writing:
Students will be most successful if they first write the text type that closely parallels the one jointly worked on in class, and then go back and edit.
In journal format , allow students time to write about and reflect on their progress within this writing process to build metacognitive awareness of their writing development. Students should be encouraged to write down questions that arise, frustrations, points of confusion, ideas and connections that emerge in the process.
Register Continuum
everyday! technical! concrete abstract informal! Subject matter formal! personal! impersonal! novice informed most spoken! Roles and relationships most written! here-and-now! generalised! language accompanying language constitutes the text action
Mode of communication The Register
FIELD (Subject Matter)
Everyday Technical
TENOR (Interaction with others)
Informal Formal Close Distant
MODE (Delivery)
Spoken Written Nominalization
Nominalization is the process by which nouns are created from adjectives or verbs. This process enhances the academic tone of a piece of text.
Example 1:
The world is running short of fresh drinking water and we need to do something about it. We can stop people wasting water by making it more expensive. We can also regulate when and how people get to use it. Also we can stop wasting water by reusing it after it has gone through the sewerage plant.
Example 2:
The increasing scarcity of fresh drinking water is proving to be a major challenge to the world community. Reducing wastage, stricter regulation on its use and recycling of waste water will all help remedy this situation.
What is difference between these two examples?
Is running short of Increasing scarcity Need to do something Major challenge Can stop….wasting Reducing wastage Can…regulate Regulation Get to use Use Reusing Recycling
Nominalization: The process of turning verbs into nouns.
Examples:
Verb Nominalization Discover Discovery Impair Impairment Allow Allowance Agree Agreement Study Study
All verbs turn into nouns when we add –ing :
She reported the event. Her reporting of the event…
We studied the matter. Our studying of the matter…
Some typical patterns of nominalizations:
The committee agreed on the proposal. There was committee agreement.
If you fail, we may reject your budget. Failure could result in rejection of the budget.
When you nominalize the “action” of a sentence, you hide that action in a noun.
This requires you to fully explain the nominalization in your supporting paragraphs.
Nominalizations should not be overused in your writing. When used properly, they can elevate your argument and discussion essays.
Nominalization Practice
Verb Nominalization To abbreviate To evaporate To migrate To rotate To hesitate To impress To digress
Practice: I think that people should not be allowed to have guns because you know just say they have a fight with someone they can get carried away and just get their gun out and shoot anyone, you know
______
Active and Passive Voice: Definitions
Active Voice: The agent of the action is the subject of the sentence and the receiver or goal of the action (the action’s object) follows the verb:
Some cop gave me a ticket.
The attorney forced Dr. Smith to acknowledge his mistake.
Passive Voice: In the passive voice , the receiver or goal of the action is the subject of the sentence and the agent appears in a prepositional phrase.
A ticket was given to me by some cop.
Dr. Smith was forced by the attorney to acknowledge his mistake.
Dr. Smith was forced to acknowledge his mistake [ ].
Strategic Use of Passive Voice:
(1) to avoid a long subject . You might use the passive voice when you need a lot of words to name the agent and you don’t want to have a long subject. Even though this tends to hide the agent, shorter subjects generally make clearer sentences.
Darwin’s genius is illuminated by hundreds of letters, both personal and scientific, to scores of recipients, including leading scientific figures. Mendel, however, is represented by only ten letters to the botanist Karl Nageli and a handful to his mother, sister, and nephew.
(2) to avoid naming the agent . You may decide to use passive voice when you don’t know who did it:
Mrs. Peacock was murdered at 6:00 PM last night in the conservatory.
You may also use the passive voice when you don’t want to assign (or admit) responsibility:
The glass was broken .
The loading line connected to tank car 96 was disconnected prematurely, allowing the release of highly flammable chemicals.
(3) to shift the focus from the agent to another character . You might use the passive voice when you and your readers don’t care who the agent of the action might be. In the following example, we don’t care about the anonymous trial attorney who acts as agent:
At the trial Dr. Smith was forced to acknowledge that the report was more reliable than his own diagnosis.
Modality
Discussion essays frequently involve the evaluation of possible results from a suggested action- eg. Should Canada’s e-trash be exported to China? The use of modal elements allows the writer to push the argument forward (This will cause more health problems) or recede it back on the page (This may cause more health problems). It is important that students understand that modality is used to suggest certainty or usuality of an event.
Modality- Expressing Certainty-and Usuality- Practice Activity (adapted from Language and Literacy: Classroom applications of functional grammar, DECS, 2004)
• Divide the class into groups of 3 or 4. • Give each group one set of sentence strips and explain that the sentences are possible responses to the question “Was this the man you saw robbing the bank?” • Ask each group to arrange the sentences in order from most to least certain. • Discuss responses with the whole class
Correct Response: 5. It was him. 6. It was certainly him. 2. It must have been him. 3. It probably was him. 1. It might have been him. 4. It possibly might have been him.
Generally, students will agree to this order. Some students may argue that number 6 should come before number5, but introducing any modal element indicates some degree of certainty
Modality- Expressing Usuality- Practice Activity (adapted from Language and Literacy: Classroom applications of functional grammar, DECS, 2004) • Divide the class into groups of 3 or 4. • Ask each group to arrange the sentences in order from most to least certain. • Discuss responses with the whole class
Correct Response: 2. I always watch Riverdale. 4. I usually watch Riverdale. 5. I often watch Riverdale. 3. I sometimes watch Riverdale. 7. I seldom watch Riverdale. 6. I rarely watch Riverdale. 1. I never watch Riverdale.
Again, most students will agree with this ordering. Some may question the positioning of usually and often. It’s helpful to use an example to explain the placement, for example, “I often shop at Metrotown, but usually I shop at Brentwood Mall.”
Additional practice activities for modality can be found on pages 84-94, Developing Writing Skills Teacher resource book (Phoenix Education, 2005)
Summary of Modal Resources Expressing Certainty
Modal finites more must, will, could, might, may That must be him now. It could be spoken Jill.
Modal adjuncts perhaps, maybe, possibly, probably It’s possibly the best in the surely, certainly, definitely world. It’s definitely the best in the world.
Mental and verbal processes I think it’s the best. I I know, I think, I believe, It indicates believe that you are right. Scientists claim that, It suggests that Scientists claim that there are parallel universes.
Modal qualities certain, sure, positive, uncertain I am certain that it’s the impossible, possible best.
Modal nominals Possibility, certainty, probability, I think there is a strong more risk, chance, likelihood possibility that it is the best. written The risk of damage is high.
Summary of Modal Resources Expressing Usuality more spoken Modal adjuncts always, usually, typically, often I always shop there. seldom, rarely, never I never shop there.
Modal qualities frequent, common, usual, typical It’s a common sight. infrequent, unusual, rare It’s an unusual sight.
Modal nominals Fatal accidents have tendency, frequency, rate decreased in frequency more over recent years. written Evaluative Language- Judgment Words
Consider the difference in meaning between the following sentences:
Bill looked on with a smile while Joe accepted the prize. OR Bill looked on with a tight smile while Joe accepted the prize.
The addition of one evaluative term, tight, completely changes our view of the relationship between Bill and Joe. Because the use of judgment words allows the writer to “smuggle” a bias or preference into the text, it is an important skill for ESL students to master in order to effectively position the reader.
Practice Activity- Evaluative Language –Master Underline the judgment words or phrases in the paragraph below.
Logging of old-growth forests will be a disaster for British Columbia. The logging companies selfishly compete to see which can reap the greatest profit from our natural resources. The result of forestry practices is often the destruction of the natural habitats of defenseless animals. As well, the loss of green spaces contributes to global warming. This must be seen as Nature’s warning not to place corporate greed above man’s obligation to the environment.
Now re-write the paragraph to support the opposite point of view.
Possible response:
Logging of old-growth forests will be a benefit for British Columbia. Logging companies contribute taxes from the revenue generated by our natural resources. While there may be some loss of animal habitats and green spaces, this is outweighed by the valuable economic contribution to the province in terms of jobs and tax dollars to support education and health care.
Additional practice activities for evaluative language can be found on pages 95-119, Developing Writing Skills Teacher resource book (Phoenix Education, 2005)
Practice Activity- Evaluative Language Underline the judgment words or phrases in the paragraph below.
Logging of old-growth forests will be a disaster for British Columbia. The logging companies selfishly compete to see which can reap the greatest profit from our natural resources. The result of forestry practices is often the destruction of the natural habitats of defenseless animals. As well, the loss of green spaces contributes to global warming. This must be seen as Nature’s warning not to place corporate greed above man’s obligation to the environment.
Now re-write the paragraph to support the opposite point of view.
______Constructing a Short Analysis of a Text: A Path to Showing Understanding When writing about a text, and the ideas found within, follow the RUAA format for making sense of, analyzing, and communicating your understanding of a text. It is helpful to process the text using the following aspects and processes:
Re-Telling (of the text) The first part of your thinking and your paragraph response should be a re-telling of what happens in the text. • This is where you SUMMARIZE the text in your own words (pretend you are explaining it to someone who has never read it before). • You should provide some detail, but should also avoid weighing down the reader with too much information. • You should focus on events in the text (important events that help shape out the story/conflict/character development/theme) • In your ‘re-telling’, you should also make a BRIEF reference to the larger idea at work in the text (ie. Theme). This should be reference not an explanation!
Show your Understanding (of the text) The second part of your thinking and your paragraph response should be an illustration of the content , or the various parts, of the text; here, you are to show your understanding of the parts that make up the whole. • This is where you present explicit and important details that illustrate deeper meaning in the text. • You should provide a few points – and these points must be IMPORTANT and CONNECTED to a significant idea. • You should focus on character personality (how they are described), key conflict(s) in the text, the setting of the text, and any other literary elements which provide more insight into a larger idea or theme. • These are the pieces (evidence) that make up the larger puzzle (the literary work) • In this part of your thinking and analysis, you should present this information by introducing a concept, presenting a piece of support or quotation that helps support that concept, and then explaining that quotation or piece of support in relation to the concept. • Every concept that you discuss should connect with the text’s larger theme(s).
Analysis (of the text) The third part of your thinking and your paragraph analysis should be a brief discussion of the character’s learning in the text. In other words, an analysis of the character’s journey. • This is where you discuss the character’s journey, and the final learning that the character has undergone. AND/OR • This is where you describe the evolution of the character. • You should consider HOW the character changes, what they now understand, and/or the evolution of their thinking and/or personality over the course of the text. • This is what we will call THEME WITHIN THE TEXT. (For example, in a story where a character, let’s call her Amanda, learns that their relationship is an unhealthy one and knows they should end that relationship, the THEME WITHIN THE TEXT would be ‘Although Amanda initially chooses Amanda comes to understand that her relationship with Bob is a toxic one, and that the healthier choice is for her to end that connection.’)
Application (of the text) to the Real World The last part of your thinking and your paragraph analysis should be a statement describing what the text is showing about humanity, real people, the nature of the world, human interaction, etc. • This is what we will call THEME OUTSIDE THE TEXT. • This should be the moment in your analysis where, after taking and arranging all of the pieces of the puzzle, there is a larger picture presented. • This is about you APPLYING what happens inside the text to the OUTSIDE WORLD. • This should be a statement that illustrates a UNIVERSAL TRUTH about human beings. (For example, in the example provided above, Amanda learns that a healthier choice is for her to end her relationship with Bob. The UNIVERSAL TRUTH would be that, ‘We, as human beings, often have difficulty making tough decisions about our own lives, but given time and a growth of our ability to self-reflect, we sometimes are able to make wiser choices.’) • If you can imagine having a conversation with the writer of the text, what piece of knowledge would they want us to know or understand? What advice would they give other human beings?
o In your ‘re-tell’ or introduction, you should begin by introducing the title of the text, the writer’s name and the re-tell or summary itself: In the short story “On the Sidewalk Bleeding” by Evan Hunter, Andy, the main character, is…. o When including quotations in your paragraph (and you should include quotations – ie. the writer’s words), be sure to use quotation marks, and EMBED them in your writing: Ex. Amanda begins to understand that Bob “doesn’t care much for spending time with Jen” even though “Jen is [her] best friend” (p. 5). This shows that Bob does not have authentically care for her, or her life. o Don’t forget your transitions – phrases that link one idea or sentence to another.
“Don't tell me the moon is shining; show me the glint of light on broken glass.” - Anton Chekhov
If you want to engage the reader’s heart, mind, and imagination, show with vivid details that generate the emotions you want to express. Rather than classify and list all the emotions that you feel, use specific details that give the reader a reason to feel those emotions. (http://jerz.setonhill.edu/writing/creative1/showing/#specific)
Telling Showing
I was nervous. My palms were sweaty. I popped my knuckles. I looked in my backpack three times for no reason. My leg kept shaking, and I turned my head to look at the clock every few seconds.
She was angry. “She kicked open the screen door, letting it slam against the wall as she dashed outside. Down the steps and into the yard she flew. Grabbing the first rock in her path, she hurled it back toward the house. It crashed through the living room window with an explosion of shattered glass.” (Marion Dane Bauer, What’s Your Story)
My sister is talented. My sister competes in weightlifting championships, sings lead vocals in a rock band, and speaks five languages.
I like many different sports, but I would have to He’s drenched in sweat, his knuckles are white, say that ping-pong is my favorite sport. he’s on the other side of the ping-pong table, and I’m about to bring him down. (http://jerz.setonhill.edu/writing/creative1/showing/)
How to “Show,” not “Tell” 1. Use descriptive details. (Think about your five senses: sight, hearing, taste, smell, touch.) 2. Use action. (Strong verbs!) 3. Use dialogue and character thoughts.
(Turn Page Over)
Practice Turning “Telling” into “Showing” Using the tips on the previous page, add more description to turn these “telling” statements into “showing” statements.
1. Jessica dresses unusually.
2. The movie was boring.
3. My room needed cleaning.
4. Alex was forgetful.
5. The roller coaster ride was scary.
6. Gabriel’s cooking was not great.
(examples from “Show, Don’t Tell,” http://www.suzanne-williams.com/show.htm)
Examples of Effective “Showing” Read these examples of descriptions that create images and generate emotions in the reader. What are the main ideas, emotions, and impressions that you get from these descriptions?
“Whenever puppies in the pet store window distracted me from our walk, Fido flattened his scruffy ears, growling. But he always forgave me. As his sight faded, the smell of fresh air and the feel of grass would make him try to caper. Eventually, at the sound of my voice, his tail thumped weakly on the ground. This morning, I filled his water bowl all the way to the top–just the way he likes it–before I remembered.”
“When the recess bell rang, I grabbed my chess set and dashed to freedom, eager to win the daily tournament of outcasts. I didn’t look, but I knew Lucinda was watching. I could feel her curly locks swaying as her head tracked me. Of course, I tripped in the doorway. Tennis shoes and sandals stepped around me as I scrambled after pawns and bishops. And there was Lucinda, waiting for me to notice her. She smiled, lifted her shiny patent-leather shoe, and slowly, carefully ground her heel right on the head of my white queen.” (examples from Jerz’s Literacy Weblog, http://jerz.setonhill.edu/writing/creative1/showing/)
SHIFTY TENSES
Many students believe that tense changes should always be avoided. However, sometimes a shift in tense is necessary to indicate a change in the timeframe of the action. It is the unnecessary shifts in tense that sometimes cause awkwardness and should be avoided. WHAT IS TENSE? Tense is the grammatical word to describe the ending of a verb (usually –ed for past and –s for present). English usually marks the sense of time with an adverb (for example: it is happening today or it happened yesterday.) When proofreading for unnecessary tense shifts, there are several questions to keep in mind: “When do I want to set this action?” and “Has the time period changed?” For example, I may be writing an essay about my experiences on a recent trip to Virginia and want to say that I saw the Mason-Dixon line for the first time. I have several options. I can write my paper in the past tense, which is the style most people are used to reading in novels or short stories, as follows:
Then the driver pointed to a white line painted on the road and said, “There’s the Mason-Dixon line.”
However, I may choose to make my essay more immediate by placing the action in the present. This is also an acceptable writing style, especially for an essay:
Then the driver points to a white line painted on the road and says, “There’s the Mason-Dixon line.”
In this case, the tense is merely a matter of style; it is your choice.
SHOULD I EVER CHANGE TENSE? Sometimes it is necessary to change tense. For example, if the time frame of the action changes from past to present, the tense should change to indicate this:
Although it was only a four-hour ride from my home in Pennsylvania to my boyfriend’s home in Virginia, I was terrified. Looking back, I think my feelings may have been influenced by stereotypes of the Old South.
Although this paragraph starts in the past tense, the phrase “Looking back” clearly shows the time frame of the action “think.” The tense change is perfectly acceptable without this phrase also:
Although it was only a four-hour ride from my home in Pennsylvania to my boyfriend’s home in Virginia, I was terrified. I think my feelings may have been influenced by stereotypes of the Old South.
The reason for this tense change is that I am thinking now—in the present time. Notice how putting that sentence in the past tense changes the time frame and ameaning of the action.
I thought my feelings may have been influenced by stereotypes of the Old South.
Now it sounds as though I was reflecting during the car ride, but I wanted to imply that it was only later that I had this thought.
WHEN IS IT WRONG TO SHIFT TENSE? There are other times, though, when a tense shift is not correct. For example, if the action all happened in the same time—past, present, or future—then the verbs should be consistent in tense. This “mistake” is often heard in speech, and it is even used in very informal writing. However, from a grammatical viewpoint, this type of unnecessary shift in tense should be avoided in more formal (such as academic) writing.
I climbed out of the car, walked through the door, and prepared to meet “the parents,” but instead a large, honey-colored dog runs to meet me at the door.
Here is a better way of writing this sentence:
I climbed out of the car, walked through the door, and prepared to meet “the parents,” but instead a large, honey-colored dog ran to meet me at the door.
WHAT TENSE IS BEST FOR MY PAPER? There are other uses of tense that a college student should be aware of. English majors and others who write analysis papers will often write in the literary present. This allows a writer to write about fictional or nonfictional information from a literary work in the present tense.
Shakespeare uses many risqué puns in his plays. In one scene, he disguises sexual references as sword-fighting terms.
Although Shakespeare wrote many years ago, his work can still be talked about in the present because it still exists. Again, though, there is no hard and fast rule about tense. If you wanted to stress that this happened in the past, perhaps as part of a biography of Shakespeare which was describing how he used to write, you may choose to write it in past tense instead of the literary present:
Shakespeare used many risqué puns in his plays. In one scene, he disguised sexual references as sword-fighting terms.
This is also grammatically correct, but it changes the focus of the sentence slightly. Now it reads more like a narrative than an analysis. In a situation like this, when both styles are equally grammatically correct, it becomes a choice of deciding which is better for your purposes. Are you analyzing or narrating?
I’M STILL CONFUSED. DO YOU HAVE AN EXAMPLE OF A PAPER THAT USES TENSE CHANGES WELL? The following is an example of an essay that uses tense changes successfully. Read the description of how the student changes tense and then pay attention to the effects of the tense changes as you read his essay. Some of the verbs in the essay are in bold to help you spot these changes. (This example is taken from a paper by a former student in Professor Blackledge’s Theater Criticism class.)
This writer begins in past tense to talk about a specific production of the play. Then he shifts into something called the universal present to make the reader feel like an observer watching the play unfold. Then he shifts back to past tense when making a comment about the play— something he felt when he was watching it. Then he shifts again to present tense in the final paragraph to state his overall evaluation of the play.
The Pittsburgh Public Theater production of The Pirates of Penzance presented their audience with a lighthearted theatrical experience that could be enjoyed by theater goers, young and old alike. Written over one hundred years ago by the legendary operetta team Gilbert and Sullivan, Pirates has enjoyed great success with each new incarnation. Pittsburgh Public managed to hold to this tradition once again by bringing this ageless piece of musical theater to life with freshness as well as a salute back to the days of theater past. This look back to the theater of Victorian England was most evident in the set design of Michael Schweikardt.
When the audience first enters the theater their eyes are drawn to a large, false proscenium painted bright red to resemble a large red curtain found in an old opera house. At the top of the proscenium are the stylized letters “G&S” to acknowledge the plays creators. Hanging from the ceiling are two gaslight chandeliers helping to transport the viewers back in time to the world of Gilbert and Sullivan. The playing area in front of the proscenium is painted in a fashion which resembles the lobby of a grand opera house. Disrupting this grand Victorian vision are two brown boulders placed on either side of the stage, foreshadowing the scene that is to be staged. These aspects create a mood for the audience by acknowledging them and allowing them to just enjoy the show.
As the curtain rises, the audience views the backdrop depicting a rocky beach with a ship anchored in the distance. Set in front of the backdrop is a rocky hill indicating that the action will take place on a flat of land above the beach. Cut into the hill is a tiny cave which will serve as a hiding place later in the act. The actors’ entrances are made coming over this rocky structure and entering onto the stage. I felt that Michael Schweikardt’s design was very effective in meeting the needs of this scene. We must take into account that most of the action takes place in front of this set and allows the twenty-member cast to move freely within their world. Once again, the image of a late nineteenth-century production is perceived with the use of the simplistic structures and the simply painted backdrop.
I feel that Mr. Schweikardt’s challenge in designing this production would be to provide a functional set without taking away from the spirit of this timeless tale. The Pirates of Penzance was written for a different audience from today’s. In a time when landing helicopters on stage and giant chandeliers come crashing down dramatic finales, audiences expect more. By focusing the spectacle of his set to bring the audience into the time this operetta was first produced, the audience is satisfied from the beginning. They can better understand why there is still a demand for century-old productions like The Pirates of Penzance and enjoy the experience today. by Jessica Knouse from: https://www.iup.edu/writingcenter/writing-resources/grammar/tense- shifting/
APPENDIX E
Literary Terms and Devices Author Character foil Blank verse Speaker Direct / Indirect Free verse Context characterization Meter Caricature Purpose Simile Audience Point of view Metaphor Genre First person point of view Personification Style Omniscient point of view Oxymoron Limited omniscient point of Extended metaphor Fiction view Paradox Non-fiction Narrator Image Narrative Imagery Mystery Symbol Hyperbole Suspense Understatement Fantasy Dramatic irony Allusion Romance Situational irony Pun (Auto)biography Verbal irony Cliché Historical fiction Alliteration Prose Theme Repetition Onomatopoeia Setting Paraphrase Assonance Atmosphere Summarize Consonance Mood Personal response Tone Interpret Act Inference Scene Plot Analyze Prologue Prediction Critique Epilogue Exposition Chronological order Figurative language Dialogue Internal conflict Literal language Stage / staging External conflict Denotation Props Dilemma Connotation Rising action Tragedy Climax Poet Comedy Falling action Speaker Allegory Resolution Lyric Satire Denouement Sonnet Humour Flashback Ballad Foreshadowing Ode Soliloquy Concrete Monologue Character Acrostic Aside Protagonist Antagonist Stanza Slang Flat character Refrain Sarcasm Round character Couplet Static character *This is not a prescriptive list, terms Dynamic character Rhyme and devices will depend on the content and resources of the class* Stock / Stereotyped character Rhythm Researching Text Are my sources reliable? If you have any questions about whether a source is ‘RELIABLE’, remember to: P robe the source A uthenticate the source U se fact-checking tools S ubstantiate the claims made in the text E valuate the style and language
• Google the reliability of the sources you have found – search images to see whether they are duplicated from other stories; if they are, the source using them may not be reliable
• Use fact-checking sites (such as snopes.com or politifact.com – with a TRUTH-O-METER that gives rankings from ‘TRUE’ to ‘PANTS ON FIRE’ [untrue])
• Evaluate punctuation and spelling – if a post is ungrammatical, it is not from a legitimate news outlet
• Cross-examine claims – look carefully at the source you found. Can you find this information somewhere else? Is the information correct?
• Study satire – Even Xinhua, the biggest and most influential media organization in China, has published some satirical stories as REAL NEWS.
• Remember, in an age of ‘Post Truth’, a great deal of what gets posted and shared online isn’t factual; it’s fictitious, biased or fake.
• ‘Post-Truth’ defined: an adjective used to show that ‘objective facts’ are less influential in shaping public opinion than the appeal to emotion and personal belief.
• Try to choose texts that are truthful and factual by relying on trustworthy news sources (ones that fact-checked and verified their sources and information). EDITING AN ESSAY: A BASIC CHECKLIST
Opening
o first paragraph includes a clear thesis statement o opening discussion leaves the reader with a good idea of the subject and scope of my essay o opening touches briefly on the major points that will be raised later
Body
o the body of the essay forms a structured line of argument supporting my thesis o each paragraph has a topic sentence that indicates its overall main point o each paragraph makes a single point, and all details in help to support or explain this point
Conclusion
o the reader is reminded of my thesis and main points o there is a well-developed closing discussion about what my essay has proved
Language
o the style of language is suitable (usually this means no slang, abbreviations, no contractions) o phrasing is clear and concise, without repetitions or awkward passages o spelling and word usage have been checked
Sentences and Punctuation
o all my sentences are complete (sentence fragments have been eliminated) o run-on sentences (two or more sentences written as one) have been corrected o punctuation has been checked, with special attention to commas
Grammar o the essay has been read through with special attention to grammar o pronoun agreement and subject-verb agreement have been checked o all verbs are in the right tense, without any unnecessary tense shifts o possessives are correctly formed, with apostrophes in place
Mechanics
o all proper nouns, titles, and headings are capitalized o titles of brief works (essays, articles, short stories, etc.) are in quotation marks o titles of books, plays, newspapers, magazines, etc. are in italics or underlined o quotations are properly indicated (brief ones in quotation marks, long ones set off and indented)
Revision Checklist for Essays
Many students tell us that they don't know what to check for once they have finished their essay. They usually know to check for grammar, punctuation, and spelling, but other details are often seen as less important because of the high emphasis placed on these problems in their early education.
Writing experts generally agree, however, that while details such as grammar and punctuation are important, they are far less important than solid organization, fresh writing, and creative content.
The following guidelines are designed to give students a checklist to use, whether they are revising individually or as part of a peer review team.
Organization
Is there a clear introduction, body, and conclusion?
Does the introduction provide sufficient background for the reader? Are the "who," "where," "why," "what," and "how" questions addressed?
Is there a thesis sentence? Is the purpose of the essay clear?
Does the essay move from general to specific?
Are there sufficient transitions between related ideas?
Is the overall organization murky or clean? In other words, does the writer avoid introducing new material in the conclusion or switching subjects in the middle of a paragraph in the body?
Does every paragraph address the subject matter of the thesis in some way?
Content and Style
Does the essay show that the writer has a knowledge of the audience? Is the length appropriate and adequate?
Has the writer used sufficient examples and detail to make his or her points clearly?
Has the assignment been addressed?
Is the tone of the essay appropriate?
Has the writer avoided insulting the reader?
Is the tone of the essay professional and appropriate?
Is the language convincing, clear, and concise?
Has the writer used fresh language and a creative approach?
Research and Sources (for Research Assignments)
Are all sources credible?
Is the research accurate, unbiased, and complete?
Has the writer fully interpreted the findings in each text?
Has the writer commented on each source used?
Is the analysis based on real evidence?
Is the analysis free of faulty reasoning?
Is the documentation in the Works Cited page and body of the essay correct? Have all quotations been checked against the original?
Are all quotations introduced? Is the flow of the essay seamless?
If material was paraphrased, are the sources still mentioned?
Have all facts been checked for accuracy?
Proofreading
Has the writer checked grammar and punctuation?
Has the writer checked for tense consistency?
Has the writer checked for use of the first and second pronouns (I and you) and corrected these?
Has the writer spell-checked the essay?
Has the writer checked for his or her particular pattern of error (grammatical or other)?
Are titles capitalized correctly?
For Typed essays, has the writer used the correct margin and font?
For typed essays, are the page numbers correct?
Name ______
MLA Documentation Practice Worksheet
Using the information below, write correct parenthetical citations/documentations for each example in the parenthesis provided.
Example of a works cited page:
Donaldson, Sam. Bantering on Watergate. New York: Penguin Books, 1985.
Jennings, Peter. Pushing the Limits of Political Journalism. Washington: Greater
Politics Press, 1994.
Smith, Charles. I Love Politics: A Guide to Discerning Reality. Chicago: Penn
Press, 2001.
Xavier, Jason and Thomas Yater. Political Guide to the United States. New York:
Ballantine, 2004.
Xavier, Jason. Somewhere in the Political Realm. New York: Ballantine, 2002.
Questions: 1.) "He spoke to us in German and then left us behind" ( ). --from Donaldson's Bantering on Watergate , page 45
2.) "I never thought of myself as proud", says Jennings in his book Pushing the Limits of Political Journalism ( ). --This source was located on page 107.
3.) "Politics is such an interesting field" ( ). --From Charles Smith's book, page 451.
4.) "Enraged is how he felt after the episode" ( ). --From Jason Xavier's book Somewhere in the Political Realm , page 233.
5.) In Political Guide to the United States , Xavier and Yater explore the idea that the U.S. is changing politically ( ). --From page 544 of this book.
Plagiarism Worksheet
Plagiarism defined: any use of someone else’s words or ideas without explicit and complete documentation and acknowledgement. Deliberate Plagiarism : 1) Buying another person’s work or soliciting another to do work for you. 2) Misrepresenting sources: concocting information or finding information in one source and attributing it to another. Also, citing sources which have not been consulted is considered deliberate plagiarism. 3) Passing off the work of other writers as your own—entire articles, paragraphs, sentences, phrases, and even ideas.
An act of deliberate plagiarism for any work in this course will result in a assignment grade of F and a zero will be recorded. Incorrect Attribution of Sources (Non-deliberate plagiarism): 1) Distinctions between quoting and paraphrasing 2) Use appropriate citation marks (quotation marks surrounding directly quoted materials, correct author’s name and page numbers for parenthetical citation).
Other Forms of Plagiarism: 1) Submitting a paper written for another class or for another assignment. 2) Allowing a friend or tutor to add text to your paper (Feedback from colleagues is encouraged, but all words in the paper should ultimately be your own).
Non-deliberate acts of plagiarism may also result in receiving a grade of “zero” for the particular assignment. Distinctions between Quotation, Paraphrase, and Summary: Quotation : an exact duplication of the author’s words as they appear in original source. Paraphrase : a restatement of the author’s words in your own words. Summary : a brief condensation of the main point of the original source.
Quick Guidelines for Avoiding Plagiarism Place all quoted material in quotation marks. Identify sources from which you paraphrase or summarize. Give credit for the creative ideas you borrow from a source, including particular uses of anecdotes or examples. When paraphrasing and summarizing, replace the structure of the passage and the language with your own. Acknowledge borrowed organization—use of same subtopics or same point-by- point analysis.
Plagiarism Quiz 6) When you use the work of another writer, you must provide documentation in all of the following cases EXCEPT when
a) You replicate the exact words of the author, within quotation marks b) You use the exact ideas of the writer but change the wording c) You write your thoughts or reflections after reading the author’s text d) You use the writer’s organizational plan or examples
7) Circle the number for each of the following acts that do constitute plagiarism. Do not mark those items that are legal acts.
a) Meeting with another English teacher for a consultation b) Using the exact words of another writer, within quotation marks and with a parenthetical citation c) Submitting a paper turned in for another class d) Allowing classmates in your peer review group to comment on your paper e) Allowing a tutor or friend to edit your paper
Identify the forms of citation used for the following passage:
Passage: Man is born free, and everywhere he is in chains. Many a man believes himself to be the master of others who is no less than they, a slave. How did this change take place? I do not know. What can make it legitimate? To this question I hope to be able to furnish an answer.
8. In an essay examining the relationship of humanity and society, Rousseau asserts that “man is born free, and everywhere he is in chains” (Rousseau 57). a) Paraphrase b) Quotation c) Summary
9. Rousseau suggests that, although they come into the world uninhibited, human beings find themselves universally oppressed. (Rousseau 57) a) Paraphrase b) Quotation c) Summary
10. In his essay, “The Origin of Civil Society,” Rousseau questions his observations of humanity, which indicate that a person’s free nature and his or her actual social status are in conflict. a) Paraphrase b) Quotation c) Summary
Use the following excerpt of a paper to answer the questions below:
According to Edna Flatbush’s study (125) Sally Embelism was a famous tongue surgeon of the Oompa Loompa tribe of Central Snozangle. She is often compared with the famous tooth extractor, Barry Yeek, and the famous nose hair specialist, Robby Greenly (128). Dr. William Sneezer, however, concludes that, “This is an unjust comparison” (126) and defends Embelism’s right to be evaluated separately (176). Sneezer argues, “We have only just begun to understand (Embelism’s) effect on the science of tooth pain and the causal effect of the gum’s recession on the tongue” (125). Embelism began her illustrious career as a dental hygienist under Barry Yeek in her mid twenties (Barton 87). She, “…detested working under the filthy conditions of his office…and eventually left his employment” (Carter 28). From there, Embelism wandered searching for a new purpose in her life until she met Tongue Barb Pete on the Board Walk at Atlantic City where the two met and fell in love (Boom 30). Their “…love was short lived, however, due to Pete’s habit drinking two bottles of whiskey right before the show then gulping fireballs for the crowds” (37). “It was an accident waiting to happen according to all of the couples’ friends” (Flatbush 56).
11. Why does the parenthetical reference in line 1 include only the page number?
12. Why is there a parenthetical reference with a page number in the middle of the material in line 5?
13. Why are there brackets ( ) in the quotation in line 6?
14. Why are there ellipses “…” in line 12?
15. Who wrote the words, "…love was short lived, however, due to Pete’s habit drinking two bottles of whiskey right before the show then swallowing fire in his show”?
16. Rewrite the last sentence to make the citation of (56) appropriate.
17. List all of the author’s used as references in this paper.
18. Why is Sneezer a good source to quote?
19. Which if the following can not be listed as a source on the works cited page for this paper? A. Flatbush, Edna. The Tantalizing Tongue. New York: Brewster and Company, 1987 B. Barton, Charles. Tongue Doctors of the West. Brooklyn: Compton and Jones, 1992 C. Craig, Samuel. Lipstick, Lollipops, and Death. England: Beckins, 1995 D. Boom, Humphrey. Where the Tastebuds Grow: a Look at Amazing Surgeons. New Zealand, 1979
20. For the following bibliography create a parenthetical reference from a quote on page 16 Rugged, Bart, and Alex, Ralph, eds. Tongue Diseases and other Wild Stories from the Doctor’s Office. Georgia: University Press, 1988
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APPENDIX F
Template #1#1#1 for SingleSingle----PointPoint Rubric
Concerns Criteria Advanced Areas that Need Work Standards for This Performance Evidence of Exceeding Standards
Criteria #1: Description reflecting achievement of mastery level of performance
Criteria #2: Description reflecting achievement of mastery level of performance
Criteria #3: Description reflecting achievement of mastery level of performance
Criteria #4: Description reflecting achievement of mastery level of performance
000---888000points 888000---95 points 959595 ---100 points
Note : The bottom row is optional. If you use the single-point rubric to assign a grade, you can also convert general descriptors into a point range. Using this template, if a student received an excessive number of comments in the left category, their score would fall lower in the 0-80 point range. If they mostly met the targeted criteria, their score would fall somewhere between 80 and 95 points. And if they achieved most of the targeted areas but also exceeded them in some ways, their score would fall between 95 and 100 points.
SouSouSourceSou rcercercessss:
Fluckiger, J. (2010). Single point rubric: A tool for responsible student self-assessment. Teacher Education Faculty Publications. Paper 5. Retrieved April 25, 2014 from http://digitalcommons.unomaha.edu/tedfacpub/5 .
Mertler, C. A. (2001). Designing scoring rubrics for your classroom. Practical Assessment, Research & Evaluation , 7(25). Retrieved April 30, 2014 from http://PAREonline.net/getvn.asp?v=7&n=25 .
Design Copyright 2014 by Cult of Pedagogy Template #2#2#2 for SingleSingle----PointPoint Rubric
Criteria 111 222 333 444 Comments
Category #1:#1:#1: Description reflecting achievement of mastery level of performance
Category #2:#2:#2: Description reflecting achievement of mastery level of performance
Category #3:#3:#3: Description reflecting achievement of mastery level of performance
Category #4:#4:#4: Description reflecting achievement of mastery level of performance
1 = Beginner, 2 = Developing, 3 = Accomplished, 4 = Exemplary
[Note: For each category, the teacher would simply check one of the four boxes, then write comments to the side, describing the specific factors that influenced the score. For example, if “2” was checked, the comment box might include phrases like “not enough transitions” on a writing assignment, or “feet too close together” for a P.E. task. ]
Copyright 2014 Cult of Pedagogy Burnaby School District
Secondary ELL Oral Language Matrix
Level 1 Level 2 Level 3 Level 4 Proficient Emerging Beginning Comprehension • Relies on non- • responds to most • identifies the main idea • summarizes the main • summarizes the main Meets grade verbal cues and instructions (Ex. This is about bugs) ideas (Ex. This is about ideas and provides level oral responds primarily • understands and • understands and a caterpillar who is very more detail language with gestures to be responds to most responds to hungry) • understands and expectations understood simple personal conversational questions • mostly understands and responds to (see BC • understands and questions and is beginning to responds to conversational and Ministry responds to basic understand and respond conversational and content specific guidelines) isolated to content specific content specific questions words/phrases questions questions
Speaking • speaks in isolated • uses simple • uses a limited range of • uses a range of • mostly uses • Meaning words and/or concrete words, appropriate age-level appropriate age-level appropriate age-level • Grammar/structure phrases phrases and content vocabulary content vocabulary, but content vocabulary • Pronunciation • can identify a few sentences • uses some sentence wording may sometimes • uses varied sentence • Vocabulary basic objects • pronounces many variety be awkward structures with a high • Fluency • is beginning to English sounds • uses simple conjunctions • uses varied sentence degree of fluency pronounce some • student message is (and, but, because, or) structures including • pronunciation does not English sounds partially conveyed • basic meaning/message complex sentences impede meaning • is often silent • fluency is hesitant is mostly conveyed with • pronunciation rarely • provides more and may abruptly less hesitancy although impedes meaning extensive answers stop pronunciation may • provides appropriate with few grammatical • frequent sometimes impede responses with some errors grammatical errors meaning grammatical errors, but that may sometimes • some grammatical errors does not interfere with interfere with occur, but rarely meaning meaning interferes with meaning
Strategic use of • needs much • needs extended wait • needs some wait time to • may need some wait • wait time is language extended wait time time to respond respond time to respond appropriate for the • Wait-time to respond • seeks clarification by • requires some prompting • mostly uses appropriate task/question • Register and • seeks clarification using gestures, and rephrasing for level of formality for the • uses appropriate level purpose by using survival facial expressions, clarification audience of formality for the • Questioning for words and/or repeating parts of • seeks clarification by audience clarification gestures and facial the question and using a range of verbal • may seek clarification expressions isolated words and non-verbal cues about academic • requires frequent • speaks more freely concepts and abstract prompting or requiring fewer prompts information by asking rephrasing specific questions
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APPENDIX G
Glossary Academic language: Language used to express ideas and thought across the content areas; it can be oral and/or written language, and it is of a more succinct and formal register. Orally, students need to learn when it is appropriate the say “Hiya” to a friend as opposed to greeting someone in a more formal context by saying, “Hello”. Choosing which greeting is appropriate depends on various factors that may include age and social standing relative to the person being addressed, how well you know that persona and where the communication is happening. This variation is equally reflected in the written word. Telling the class that blood moves around the body is socially acceptable in a conversation. Describing how the circulatory system functions within the context of the other body systems demonstrates a mature and more academic approach and understanding and uses more academic language. Background Knowledge: often called prior knowledge. It is essential to comprehension, to making connections and to understanding the big ideas. ELL students need to activate their background knowledge in order to make sense of what they are learning in class. ELL learners may have gaps in background knowledge that is assumed for secondary English speaking students. BICS [Basic Interpersonal Communication Skills]: Language skills needed in everyday social situations. They are usually context embedded. These language skills usually take approximately 6 months to 2 years to acquire. (e.g. talking on the phone, playing on the playground, shopping in a mall, ordering food in a restaurant.) These language skills usually take approximately 1-2 years to acquire. Related term: CALP CALP [Cognitive Academic Language Proficiency]: Language skills needed in the academic classroom. They are usually context-reduced and abstract. These language skills usually take approximately 5-7 years to acquire (e.g. listening, speaking, reading, writing about subject- specific content, etc.) Related term: BICS Connective phrases: related to transition words, these are phrases that connect ideas using conjunctions (and, or, but, it…), prepositions (at, by, in, to...) relative pronouns (who, which, what, that…) and related adverbs (hence, when, where, who…) examples : in the hope that, although this may be true, be that as it may, on the other hand
Discussion Frames: students are expected to use academic language when they speak. In turn, they are expected to apply good listening skills to the activity. “I’d like to add something. I would say that…” “You made a good point when…” “I disagree that…”
Adapted from https://www2.gov.bc.ca/assets/gov/education/kindergarten-to-grade- 12/teach/pdfs/ell/ell-standards-appendix-b.pdf
Exemplar texts: the use of exemplar (model) texts to explicitly teach and scaffold students in order to build student understanding of various text types. Fishbowl activity: is used to manage group discussion. The general idea is that rather than a large group having an open discussion about something, which can be difficult to handle and often only benefits a few active participants, a smaller group (ideally 3 – 6 people) is isolated to discuss while the rest of the participants sit around the outside and observe without interrupting. From: http://www.betterevaluation.org/en/evaluation-options/fishbowltechnique Functions of language: The use of language for specific purposes within a context, whether the context is social (as in face-to-face, with peers, with those in authority, etc.) or more academic (as in written reports, academic debates, etc.) Joint Construction Process: a collaborative writing process involving the students and the teacher in construction a text or piece of text. It can be done with small groups or as a whole class. Teachers will use exemplar texts and will explicitly model the writing process. L1: Home language. The language predominantly spoken in the home. Language continuum: Many levels of language exist at various points al0ong a continuum, each level existing with its own purpose, target audience, and language features. The continuum ranges from everyday language (informal) to highly formal language used by experts in their field study. Language Features : The features of language that support meaning (e.g. sentence structure, noun group/phrase, vocabulary, punctuation, figurative language). Choices in language features and text structures (genres) define a type of text and shape its meaning. Modality: the expression of possibility and necessity, for example: 1) Modal adverbs: maybe, probably, certainly…they have eaten their lunch 2) Modal adjectives: it is possible/probable/likely/certain…they have eaten their lunch 3) Mental state predicates: I think/believe…they have eaten their lunch 4) Model auxiliaries: They may/might/must…have eaten their lunch Passive voice: the subject of the sentence is acted on by the verb. Passive voice is often encountered in Science, Social Studies and Math and can be challenging for ELL learners. Active voice: “ The dog bit the boy.” This is a simple sentence: subject, verb, object. Passive voice: “The boy was bitten by the dog.” PAUSE: when determining whether a source is reliable, remember to: Probe the source Authenticate the source Use fact-checking tools Substantiate the claims made in the text Evaluate the style and language Adapted from https://www2.gov.bc.ca/assets/gov/education/kindergarten-to-grade- 12/teach/pdfs/ell/ell-standards-appendix-b.pdf
Sentence Frames: is a method of scaffolding whereby the teacher provides a sentence stem for students to follow. Task: Explain what factors may have caused the temperature in the room to increase. Sentence frame: A factor that would cause the temperature to increase is…’ Tier 2 words: the high-utility words that empower ELLs to have command of academic language. These words are used across the curriculum and need to be explicitly taught. Tier 1 words are words used in everyday language (bike, run, shop, etc.) while Tier 3 are specific to the content (fascism, democracy, ideology, consumerism, etc.) Examples of Tier 2 words: increase, decrease, factors, discuss, define, describe, classify, result, conflict Transition words: are devices for improving connections and transitions between sentences and paragraphs. They give the text organization and structure and therefore must be explicitly taught. e.g. consequently, therefore, moreover, likewise, hence, thus, in other words, for example…
Adapted from https://www2.gov.bc.ca/assets/gov/education/kindergarten-to-grade- 12/teach/pdfs/ell/ell-standards-appendix-b.pdf